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Victorian, Pre-Raphaelite

& British Impressionist Art


King Street
16 June 2015

Victorian, Pre-Raphaelite
& British Impressionist Art
Tuesday 16 June 2014

PROPERTIES FROM
The Triton Collection Foundation
The Alfred Beit Foundation
Lady Jane Wellesley

AUCTION

Tuesday 16 June 2014 at 2.30 pm


8 King Street, St. Jamess
London SW1Y 6QT
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Contents

Auction Information

Calendar of Auctions

Christies Victorian, Pre-Raphaelite


& British Impressionist Art Department

Specialists and Services for this Auction

Property for Sale

160

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165

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Index

front cover:

Lot 5

inside front cover:

Lot 91 (detail)

opposite title page:

Lot 59

opposite:

Lot 62
inside back cover:

Lot 74 (detail)

back cover:

Lot 60

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Victorian, Pre-Raphaelite
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AUCTION CALENDAR 2015
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16 JUNE
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
LONDON, KING STREET
8 JULY
VICTORIAN, SPORTING & MARITIME ART
LONDON, SOUTH KENSINGTON

Subject to change

26 NOVEMBER
VICTORIAN, SPORTING & MARITIME ART
LONDON, SOUTH KENSINGTON
16 DECEMBER
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
LONDON, KING STREET
13/04/15

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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)

Stunners: Pre-Raphaelite Art from a


Private American Collection (Lots 1-42)
Few afcionados of Victorian art
will fail to feel a pang of nostalgia
as they scan this collection.
It contains so much that has been
on the London market during the
last three decades, things they will
have noticed in salerooms, galleries
and fairs, tucked away in their visual
memories, lost sight of and perhaps
forgottenuntil now.
To turn the pages is to take a stroll
down Bond Street or around St
Jamess, ticking off the dealers who
have supplied the treasures they
illustrate: Agnews, Colnaghi, Spink,
Peter Nahum, the Maas Gallery,
Christopher Wood and others.
But it will be an older Bond Street,
a different St Jamess. So many of
these sources have already gone, or
operate within limits self-imposed
or dictated by market changes.

(Lot 6)

All collections are time-warps,


evoking a sense of temps perdu,
and this one is no exception.
The cultural historian of the future
who ponders the later stages of
the Victorian revival will fnd rich
pickings here for his or her research.
The two collectors responsible
have focussed on drawings, partly,
no doubt, due to availability, but
also, one senses, because they were
more in keeping with their taste.
Not that they totally shunned
oil paintings. They fell for three
atmospheric studies of fgures in
interiors - by Albert Ludovici
(lot 38), E.J. Gregory (lot 39), and
E.H. Fahey (lot 37) and could not
resist two winsome little girls by
Sophie Anderson (lots 40-41), the
sort of picture that delighted Lewis
Carroll, who owned more than one
example. An eye for an attractive
picture is also betrayed by the four
Seasons by the little known Mary
Ensor (lot 42). Dated 1863, these
intriguing assemblages of fowers
and birds suggest that the artist
knew the work of William Webbe
or J.A. Fitzgerald.
But the paintings that are most
characteristic of the collection as a
whole, both in terms of artist and
subject, are two head-and-shoulder
female fgures: a likeness of Jane
Morris by her immortaliser and
tormented lover, D. G. Rossetti
(lot 6, illustrated), and E.J. Poynters

(Lot 7)

Judith, exhibited at the Grosvenor


Gallery in 1881 and still in its
original tabernacle frame (lot 7,
illustrated). The Rossetti dates
from 1879, three years before
the artists death, when his affair
with Jane, at its height a decade
earlier, had cooled; she herself had
withdrawn on account of his drug
addiction, although they remained
on affectionate terms. As so often
in his work, she masquerades here
as Dantes Beatrice, although the
image is based on her appearance as
the ill-treated Mariana, a character
in Shakespeares Measure for Measure,
in another painting of 1870. Both
versions show her wearing in her

A Celebration of Connoisseurship
John Christian

hair the spiral brooch that was


one of the most dependable items
in Rossettis arsenal of decorative
jewellery.
If Jane was Rossettis personal
femme fatale, Poynters Judith
(lot 7), painted two years later,
represents one of the most famous
sirens of all time, inspiring countless
artists from Cranach and Donatello
to Caravaggio, Rembrandt and
Klimt. Many have revelled in the
storys bloody and sex-fuelled
climax when the Hebrew heroine
saves her people by seducing and
beheading Holofernes, the invading
general of the Babylonian tyrant
Nebuchadnezzar. Poynter opts
for something more restrained,
although even he shows Judith
fngering the pommel of the sword
with which she plans to carry out
the gruesome deed.

(Lot 36)

It is obvious from a glance at the


drawings that the collectors were
particularly drawn to the
Pre-Raphaelites, although not in
every guise. They did not, it seems,
covet the realists and purveyors
of genre in whom the movement
abounds. On the other hand,
they eagerly sought those artists
who, under the heady infuence
of Rossetti, colonised its other
great feld of expression: romance,
imagination, and soul. Hence
no fewer than seven drawings by
Rossetti himself, three by BurneJones, four by Simeon Solomon,
two by Frederick Sandys, and one
each by Charles Fairfax Murray,
Evelyn De Morgan and Sandys
short-lived younger sister, Emma.
Murray treats a subject from
William Morriss Love is Enough, an
experimental masque or morality
published in November 1872
(lot 23). The De Morgan and
the Emma Sandys remind us of
the enormous contribution that
women made to the movement,
overcoming daunting obstacles in
terms of prejudice and inadequate
training.
Three of the Pre-Raphaelites
more academic contemporaries
Frederic Leighton, Edward Poynter,
and William Blake Richmond
are also present, logically since
although they were different from
them in artistic temperament, they

(Lot 18)

were their friends and often their


professional colleagues. Leighton
and Poynter rose to be pillars of
the Victorian art establishment as
Presidents of the Royal Academy,
Leighton holding the post with
more authority and aplomb than
any incumbent since Reynolds.
No Pre-Raphaelite represented
here could have done this to save
his life, all being by nature
anti-establishment fgures. Yet
Leighton was a friend of BurneJones and worked with him on
such projects as the decoration of
the South Kensington Museum
and Lyndhurst Church. He and
Poynter joined Rossetti, Sandys
and Burne-Jones in making major
contributions to the movement
9

(Lot 5)

for better book and periodical


illustration that took off in the
1860s. Poynter, who also worked at
South Kensington, married BurneJoness sister-in-law in 1866 and
painted his daughter. So, for that
matter, did Richmond. She was a
great beauty.
This is not a collection that
celebrates the off-beat and
unexpected. The drawings tend
to be substantial statements of
mainstream values. There is
a marked preference for head
studies, generally large in scale
but very different in purpose. If
the Solomons (lots 28-31) make
excursions into an intensely private
Symbolism, the Blake Richmonds
(lots 10-11, 13) are studies for
10

a major picture and two of the


Rossettis are portraits (lots 8-9).
Indeed this whole aspect of the
collection veers towards portraiture,
encompassing two characteristic
likenesses of male sitters by Blake
Richmonds father, George (lots
34-5), and a noble study by
G. F. Watts of his friend the artist
Henry Phillips (lot 36, illustrated).
The drawing by Emma Sandys (lot
33) hovers between portraiture
and fantasy, while her brothers
Laurel Wreath (lot 20), though
modelled by his daughter Gertrude,
is essentially a belated, turn-of-thecentury essay in the Aestheticism
that had frst seen the light of
day forty years earlier. As for the
same artists Proud Maisie (lot 18,
illustrated), this, as every student

(Lot 25)

(Lot 24)

of the subject knows, is Sandys


most famous creation and one
of the most compelling images
in the whole of Pre-Raphaelite
iconography. Originally dating
from the late 1860s, his vivid
evocation of a petulant dominatrix
was repeated many times by Sandys,
its popularity a telling refection
on Victorian psychology. In her
catalogue raisonn of the artists
work Betty Elzea lists eleven
versions, of which this is the sixth.
Elzea describes it as an early replica
and dates it to within a few years of
the frst.
Figure studies are another distinct
feature of the collectors taste.
Perhaps their single most impressive
drawing is Rossettis life-size study
for the protagonist in Desdemonas
Death Song, a painting conceived in
the early 1870s but never completed

(lot 5, illustrated). The composition


shows the heroine crooning the
willow song as she prepares for
bed on the fatal night and her hair
is brushed by her faithful maid,
Emilia. Modelled, like so much
of Rossettis later work, by Alexa
Wilding, the drawing gives the
fgure an elegance and grace that
are not found in every study for
this picture. The pose is sometimes
awkward, particularly the placing
of the hands, a feature successfully
resolved on the present occasion.

art-historical credentials, being


inspired by a famous Greek
sculpture, the Diadumenos of
Polycletus, but this did not
stop it provoking one of those
controversies about the propriety
of depicting the nude that the
Victorians relished. The drawing
exemplifes Poynters skill as an
academic draughtsman, a skill he
sought to pass on to students via
the offcial art training system, and
demonstrates that not all Victorian
models were sylphs. Sickert once
said of a drawing of three female
nudes by Burne-Jones, with what
now seems a breathtaking lack of
political correctness, that he had
never seen plumper little partridges

Leightons drapery study for Music


(lot 25, illustrated), one of two

(Lot 17)

decorative friezes that he painted


for the South Audley Street house
of the banker Stewart Hodgson in
the 1880s, is another fne
preparatory drawing. So too
is Evelyn De Morgans study
for her painting In Memoriam
(lot 24, illustrated) and two nude
female fgures by Poynter and
Burne-Jones. The Poynter
(lot 26, illustrated) is a study for
his painting Diadumgne of which
versions were exhibited at the Royal
Academy in 1884 and 1885. The
picture had impeccable
(Lot 26)

(Lot 27)

11

No-one could describe Augustus


Johns willowy female model
(lot 27, illustrated) as plump, and
indeed the drawing is something of
an anomaly in the present context,
introducing a modern British note
into the prevailing Victoriana.
On the other hand, John has often
been seen as continuing the
Pre-Raphaelite tradition. To
reproduce a head study of Dorelia
or Alick Schepeler alongside one by
Rossetti or Burne-Jones is almost a
clich of catalogue layout.

(Lot 19)

from Fulham (where Burne-Jones


lived). A great admirer of Poynters
draughtsmanship, he might have
made a similar comment about our
drawing.

Connoisseurship is a somewhat
outmoded term these days,
suggestive of elderly gentlemen
poring over solanders, pondering
the fner points of quality,
technique, condition and
attribution, or fussing about
iconography and provenance.
No time for all this in the white

Burne-Joness own model


(lot 17, illustrated) has something
of the same character. Clearly, like
Poynters, a professional, she poses
simply to allow the artist to fx
the pose of the Queen who sits,
cradling the Kings feet in her lap,
in Arthur in Avalon, the enormous
swan-song canvas that he began
in 1881 and left unfnished at his
death seventeen years later. Only in
the painting would she be idealised,
morphing into a stately image of
passionate but restrained grief.
(Lot 8)

12

(Lot 1)

heat of modern, wall-to-wall


collecting! But the word only really
means sound judgement based on
knowledge and experience, and
without this no-one has yet formed
a frst-rate collection. You may rely
on others for expertise and advice,
but ultimately you have to make
the decisions yourself. As Grayson
Perry would say, you must put in
the hours and the legwork. There
are no short cuts or soft options.
Our collectors have known
all this, and it shows. In their
assured selection, even lesser masters
appear at their best. Few Evelyn
De Morgan drawings reach
the level of this one, while the
Henry Ryland (lot 19, illustrated),
beautifully composed and

exquisitely coloured, an abstraction


of which Albert Moore himself
might have been proud, is the most
appealing we have seen for ages.

foreground of the watercolour are


omitted in the preliminary drawing,
perhaps because Rossettis primary
concern here was to articulate the
psychological tension between the
fgures.

A sign of the true connoisseur


of drawings is a preference for
examples that relate to paintings
and therefore shed light on the
artists thought processes before
a satisfactory solution is reached.
We have already seen that the
collection abounds in these
fascinating documents, but they
(Lot 14)

are such a marked feature that it


is hard to resist giving a few more
examples. Rossetti, in addition to
defning the pose of Desdemona,
offers studies for three paintings of
the 1860s, a portrait of the wife
of F.R. Leyland, the Liverpool
shipowner who was one of his
greatest patrons (lot 8, illustrated),
and two watercolours, The Return of
Tibullus to Delia (lot 2) and Hamlet
and Ophelia (lot 1, illustrated).
The subject of the latter, Ophelia
returning to her suitor his letters
and presents, seems to have had
some special signifcance for the
artist since this was his second
treatment, the frst being a richly
detailed and symbol-laden pen and
ink drawing of 1858, now in the
British Museum. Curiously enough,
the bundle of letters and a chasselike jewel-casket that appear in the
(Lot 15)

Similarly, Burne-Jones, in addition


to his Avalon drawing, contributes
a study for the musician in
The Mill (lot 15, illustrated),
a painting shown at the Grosvenor
Gallery in 1882, and a vibrant
little composition sketch for
The Finding of Medusa in the Perseus
series (lot 14, illustrated). Studies
for The Mill are comparatively rare,
despite the fact that the picture
was twelve years on the easel. Ours
is an early example, datable on
stylistic grounds to about 1870,
and is interesting in that the music
the fgure plays sets the mood of
this overtly Aesthetic production.
The picture was bought by
Constantine Ionides, the autocratic
head of the Anglo-Greek family
that fgures so prominently in the
annals of Victorian art, and is now,
with the rest of his collection, in
the Victoria & Albert Museum.
The Perseus series also owed its
existence to a remarkable patron,
being commissioned in 1875 by
the young Tory politician Arthur
Balfour to adorn the drawing room
of his London house, 4 Carlton
Gardens. The Finding of Medusa is
one of the more dramatic scenes,
13

instils, the evidence offered by the


collection is almost overwhelming.
Burne-Joness study for The Mill
belonged to the great Blake
scholar Sir Geoffrey Keynes, while
Poynters head study for Helena
and Hermia was in the remarkable
collection of drawings formed
by Sir John Witt, the son of
Robert Witt, the founder of the
Witt Library, to which every art
historian is indebted. Once again,
however, attention tends to focus
on the Rossettis. The portrait of
Jane Morris (lot 6) belonged to
Sir Charles Butler, a keen early
collector of Rossettis work as well
as of the old masters.
(Lot 21

especially in the full-scale gouache


cartoon in the Southampton Art
Gallery, a work of almost terrifying
intensity. The fnal oil was never
fnished.
The same pattern emerges when we
turn to the Pre-Raphaelites more
academic peers. Leighton
is represented not only by his
study for Music but by two much
earlier drawings for his illustrations
to George Eliots historical novel
Romola (lot 21, illustrated, and lot
22), one of the masterpieces of the
renaissance that the art of illustration
witnessed in the 1860s. As for
Poynter, his study for Diadumeng is
joined by a head study for Helena
14

and Hermia (lot 16), a painting


commissioned by the Art Gallery of
South Australia, Adelaide, in 1899
and exhibited at the Royal Academy
two years later. One of the artists
most attractive later works, it shows
the two heroines of Shakespeares
A Midsummer Nights Dream
expressing their boon
companionship by working together
on a single embroidery in a wood
outside Athens, a travel-brochure
view of azure sea and sun-kissed
mountains visible in the distance.
As for the tribute that
connoisseurship pays to provenance,
valuing it both for its intrinsic
interest and the confdence it

One drawing (lot 9) was owned by


the artist Randolph Schwabe, and

(Lot 4)

mouth, or a Venus Veneta by


some latterday Palma Vecchio or
Paris Bordone, but as she was a
handsome, voluptuous, good-time
girl, taking a nap after what has
perhaps been a long day running
the eccentric household at 16
Cheyne Walk. Rossettis affection
for her, not to say his gratitude
for bringing some down-to-earth
warmth and humour into his
over-cerebral, emotionally fraught
existence, is almost palpable.

(Lot 2)

But the drawings history claims


attention as much as its very human
theme. Given by Rossetti to his
friend and patron the landscape
painter G.P. Boyce in December
1862, less than two months

after he had moved into Cheyne


Walk, it was sold at Boyces sale
at Christies in July 1897, and
between then and its acquisition by
Mrs Troxell belonged successively
to four well-known connoisseurs:
Herbert Horne, architect, expert
on Botticelli, and creator of the
Museo Horne in Florence; Sir
Edward Marsh, civil servant,
patron of young artists, and editor
of Georgian Poetry; Sir Brinsley
Ford, whose collection will still
be green in many memories; and
Hugh Walpole, the novelist. Who
will now acquire such a fascinating
sheet, replete with resonance on
every level, and add another name
to this roll of honour?

one (lot 4, illustrated) by another


artist, L.S. Lowry, whose devotion
to Rossetti, though it never ceases
to surprise in the light of his own
work, is well known. Two more
(lots 2-3, illustrated) were in the
collection of Janet Camp Troxell,
for many years the doyenne of
Rossetti scholars in America. And
one of these, a sketch of Fanny
Cornforth, Rossettis model, mistress
and housekeeper, asleep on a day
bed (lot 3), could boast a whole
series of distinguished owners before
it came into her possession.
The drawing is remarkable in its
own right. Fanny is seen not as
Bocca Baciata, Boccaccios kissed

(Lot 3)

15

*1

Dante Gabriel Rossetti (1828-1882)


Study for Hamlet and Ophelia
signed with monogram and dated 1865 (lower right)
pencil, pen and black ink, brown wash on paper
7 x 5 in. (17.9 x 13.4 cm.)

O20,000-30,000

$30,000-44,000
28,000-42,000

PROVENANCE:

with Agnews, London, where purchased by the present owners.


As early as 1854, Rossetti had begun to explore the subject of
Shakespeares Hamlet and Ophelia and the moment in Act III, scene i,
when Ophelia returns letters and gifts that Hamlet had given her.
My lord, I have remembrances of yours,
That I have longed long to re-deliver;
I pray you, now receive them.
for to the noble mind
Rich gifts wax poor when givers prove unkind.
In an 1854 sketch, now in the Birmingham Museum and Art Gallery
(Surtees, op.cit., no. 108A), Rossetti depicts Ophelia with her hands
clasped in her lap, seemingly exhausted with emotion, whilst Hamlet
kneels on a seat with his hands raised to his chest. In 1858, he elaborated
on this earlier sketch, in a highly fnished pen and ink drawing. (British
Museum, Surtees, op.cit., no. 108). The fgures are in an ornate bower,
Ophelia is turned away from Hamlet, holding out the remembrances to
him. Hamlet dominates the scene, his arms outstretched, almost Christlike. There is a further pen and ink study of the subject, from circa 1854,
in the British Museum, which explores the emotional responses of the
fgures; Ophelia stands, her face hidden in her hands, turning away from
Hamlet who stretches over her empty chair, hands outstretched.
By the 1860s Rossetti had refned and simplifed the composition. In
the three works which he executed at this time, Hamlet clasps Ophelias
hand and the two fgures are standing framed by architecture, the earlier
detailed settings rejected. The present drawing appears to have been
unknown to Surtees when she compiled her catalogue raisonn. The year
after the present drawing was executed, Rossetti produced a watercolour
based on this study (Ashmolean Museum, fg. 1, Surtees, op.cit., no. 189).
There is a further pen and brown ink drawing of the same composition
in Birmingham Museum and Art Gallery (Surtees, op.cit., no. 189A).
Hamlet, more than any other of Shakespeares plays, captured Rossettis
imagination and in particular its themes of rejection and betrayal.
Rossettis work was often autobiographical and he responded to and
explored themes and ideas which had a particular or personal resonance.
As John Christian has suggested it is diffcult to ignore the links between
the themes explored in Hamlet and the artists own behaviour towards
Lizzie Siddal in the years before their marriage in 1860; his dalliance
with Fanny Cornforth and others, and his feelings of guilt, which can
only have been magnifed by her suicide in 1862. Lizzie Siddal had sat
for the fgure of Ophelia in the earlier works, in itself unsurprising as she
dominated his art throughout this period. However, it is interesting to
note the similarity with the features of the model in this later sheet, when
Siddal had been dead for three years.
In a letter to George Eliot (18 February 1870), Rossetti discusses his ideas;
In the Hamlet I have wished to symbolize the character and situation,

16

as well as to represent the incident. Perhaps after all a simpler treatment


might have been better. As regards the dramatic action, I have meant
to make Hamlet ramping about and talking wildly, kneeling on one of
the little stalls and pulling to pieces the roses planted in a box in the
angle-hardly knowing all he says and does, as he throws his arms this way
and that along the edge of the carved screen. Ophelia is tired of talking
and listens to him, still holding out the letters and presents she wishes
to return.
The highly worked technique employed by the artist in the present
drawing can be found in other drawings of the 1850s and 60s, including
Hesterna Rosa (Surtees, op. cit., no. 57) and How they met themselves
(Fitzwilliam Museum, Cambridge, Surtees, op. cit., no. 118) ), refecting
the infuence of Ruskin upon the young artists work. In The Elements
of Drawing, published 1857, but based on long experience of teaching at
the Working Mens College, Ruskin urges his readers to begin with this
medium. Ruskin made much use of Drers prints as teaching aids, and
there can be little doubt that he lent Rossetti examples as a guide. The
Elements of Drawing abounds in references to Drers engravings, which
the reader is told to acquire and copy as aids to painstaking, accurate
draughtsmanship.
The
elaborate,
detailed penmanship
here
immediately
recalls those master
engravings, giving a
fascinating insight into
Rossettis infuences,
and the crucial role
Ruskin played in his
artistic development.

Fig. 1: Dante Gabriel Rossetti, Hamlet and Ophelia,


1866, watercolour and gum arabic on paper
Ashmolean Museum, University of Oxford/ The
Bridgeman Art Library

(actual size)

*2

Dante Gabriel Rossetti (1828-1882)


Study of a girl for The Return of Tibullus to Delia
indistinctly inscribed This point a little higher (lower left)
pencil and red chalk on paper
12 x 9 in. (32.7 x 22.9 cm.)

50,000-80,000

$74,000-120,000
70,000-110,000

PROVENANCE:

D.G. Rossetti (); Christies, London, 12 May 1883, lot 158 (4 gns. to
Campbell).
with Christopher Wood, London, where purchased by the present owners.
LITERATURE:

V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882),


Oxford, 1971, p. 25, pl. 62, no. 62.R.I.A.
The present drawing dates from the 1860s and is a full-length study of the
fgure of Delia for The Return of Tibullus to Delia. Rossetti frst treated the
subject in a watercolour dating from the early 1850s with Lizzie Siddal
as the model for Delia (Surtees, op.cit., no. 62). That watercolour was
initially owned by Fanny Cornforth. Rossetti executed a second version
of the subject, also in watercolour dated 1867, which was commissioned
by F. W. Craven and owned subsequently by Fairfax Murray and L. S.
Lowry, before being sold in these Rooms on 11 June 1993, lot 82, (fg.
1).

The watercolour shows the realisation of Tibulluss wish. He bursts


though the door, stepping over the sleeping fgure of a slave, followed by
a slave girl, who holds back the curtain. Rossetti contrasts the energetic
and abrupt appearance of Tibullus with the lassitude of the two women.
Delia is seated wearily, leaning to the left, her hair spread out, whilst the
old dame, her guardian, is singing to two lutes. A young slave sleeps
across the threshold and there is a cat curled up on the foot stool in the
foreground.
The present drawing is a particularly sensitive sketch and the inscription
this point a little higher clearly indicates Rossettis thoughts as he
developed the composition, a commission for one of his most important
patrons, the Manchester calico-printer Frederick W. Craven.

The present drawing is a preparatory study for the later watercolour and
demonstrates Rossettis further thoughts on the pose of Delia. In the
earlier watercolour she sits upright, a lock of hair between her lips, her
eyes closed, a distaff in her left hand. Whereas here she is more relaxed,
leaning over to the left, with her hair spread out, her hands empty. The
model in the present drawing appears to be based on Lizzie, who had
died fve years earlier. For another drawing where Rossetti harks back to
his late wife, see lot 1.
The subject is taken from the Elegies of the Roman poet Tibullus, I, 3,
vv. 82-92. Rossetti himself translates the Latin as:
Live Chaste, dear love; and while Im far away,
Be some old dame thy guardian night and day.
Shell sing thee songs, and when the lamp is lit
Ply the full rock and draw long threads from it.
So, unannounced, shall I come suddenly,
As twere a presence sent from heaven to thee.
Then as thou art, all long and loose thy hair,
Run to me, Delia, run with thy feet bare.
Fig. 1: Dante Gabriel Rossetti, The Return of Tibullus to Delia, 1867, watercolour
and bodycolour, sold Christies, London, 11 June 1993, lot 82

18

*3

Dante Gabriel Rossetti (1828-1882)


Study of Fanny Cornforth, asleep on
a chaise-longue
signed, inscribed and dated D.G.R. to G.P.B. Decr 7. 62
(lower left) and signed with monogram (lower right) and with
inscription Sketch of Fanny Cornforth by D.G. Rossetti,
Given by D.G.R. to George P. Boyce Decr 7 62
(in the hand of George Price Boyce, on the reverse)
pencil on paper
13 x 20 in. (35.8 x 50.7 cm.)

120,000-180,000

$180,000-270,000
170,000-250,000

PROVENANCE:

George Price Boyce (); Christies, London, 1 July 1897, lot 28


(sold 5.15s to Horne).
Herbert Horne (L. 2804).
Sir Edward Marsh.
Sir Brinsley Ford (L. 936e).
Anonymous sale; Sothebys, London, 29 March 1939, lot 54.
Sir Hugh Walpole. (L. 1386)
Mrs Janet Camp Troxall.
with The Leicester Galleries, London,
where purchased by the present owners.
EXHIBITED:

London, Leicester Galleries, Collection of Sir Hugh Walpole, 1945, no. 32.
London, Royal Academy, Birmingham City Museum and Art
Gallery, Dante Gabriel Rossetti; Painter and Poet, 1973, no. 248.
Yale University Art Gallery, Dante Gabriel Rossetti and the
Double Work of Art, 1976, catalogue untraced.
LITERATURE:

A. E Street, George Price Boyce, with extracts from Boyces diaries,


1851-1875, The Old Watercolour Societys Club, IXX, 1941, p. 43.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (18281882), Oxford, 1971, p. 161, no. 289.

20

Fig. 1: Dante Gabriel Rossetti, Bocca Baciata, 1859, oil on panel Museum of Fine
Arts, Boston, / Gift of James Lawrence / The Bridgeman Art Library

Fanny Cornforth (1835-1906) frst met Rossetti during a fte to mark the
return of the troops from the Crimea. Born Sarah Cox, the daughter of a
blacksmith in the Sussex village of Steyning, her combination of beauty,
magnetism and her sensual nature proved irresistible to the artist. She
was a complete contrast to the delicate, neurotic and ailing Lizzie Siddal,
with whom hed had a long and tortured relationship. Although there
is no proof, it seems likely that Fanny became not only Rossettis model
but also his mistress before he was reunited with and married to Lizzie in
1860. Following Lizzies death two years later, Rossetti moved to Cheyne
Walk, Chelsea, and Fanny was installed as his housekeeper.
Fanny frst sat to Rossetti on 26 August 1856, when she went to his studio
in Blackfriars to pose for the fgure of the farmers sweetheart in Found
(Bancroft Collection, Willmington). In 1859 she sat for Bocca Baciata
(Museum of Fine Arts, Boston, fg. 1), the painting which is generally
considered to mark the beginning of his mature style and a landmark in
Aestheticism. Fanny dominates Rossettis imagination in the early and
mid 1860s and sat for nearly all of his most signifcant work of that time.
During this period Rossetti abandons the Dantesque or chivalric narratives
that he had favoured previously and for which Lizzie had been his
inspiration. In Bocca Baciata he began to formulate a more Aesthetic style,
where female beauty and the overall decorative and chromatic effects
were key. The work of the Venetian Masters, which he had studied in
the Louvre whilst on honeymoon in Paris in 1860 proved infuential,
and Fanny became the muse for this Venetian phase, just as Lizzie
had inspired his earlier Dantesque period. By the late 1860s, although

22

Rossetti had become enthralled by the soulful looks of Jane Morris (see
lot 6), he continued to rely on Fanny for practical help and the emotional
stability he so needed in his later years.
Cornforth also sat to other artists including Burne-Jones and the
watercolourist George Price Boyce (1826-1897). The latter appears to
have formed a close bond with the model and it is thought that she
perhaps had an affair with both Boyce and Rossetti. Rossetti captured
Boyce and Cornforth looking at a work on an easel in Rossettis rooms
in a detailed drawing (Tullie House Museum and Art Gallery, Carlisle,
fg. 2).
The present drawing dates from December 1862, two months after
Rossetti had moved to Chelsea. Boyce records in his diary, for the 7
December 1862. In the evening went up to Chelsea to see Rossetti.
Found him and Fanny at home. Stayed and dined. He gave me a pencil
sketch of her as she lay on a couch, hair outspread, and her right hand
under her head. (Old Watercolour Society, loc. cit., p. 43).
Boyce frst met Rossetti in 1849 and the two became frm friends. Boyce
formed an extensive collection of the work of many of his contemporaries
including Millais, Burne-Jones, Poynter, Leighton, Holman Hunt and
Rossetti amongst others. He acquired a number of Rossettis early works
including How They Met Themselves (Fitzwilliam Museum, Cambridge)
and in 1859, he commissioned Bocca Baciata (fg. 1).
This masterful drawing has an illustrious provenance . It was sold in these
Rooms after Boyces death in 1897, where it was purchased by Herbert

Fig. 2: Dante Gabriel Rossetti, George Price Boyce and Fanny Cornforth, c.1858, pen and ink on paper
Tullie House Museum & Art Gallery, Carlisle / The Bridgeman Art Library

Horne (1864-1916), an architect, art collector and art historian, whose


book on Botticelli is still regarded, over a century after it was published,
as one of the key works on the artist. Horne was part of the Century
Guild, a loose association of architects, designers and craftsmen set up by
Hornes business partner, A. H. Mackmurdo (1851-1942), in an effort to
make architecture and the decorative arts the sphere, no longer of the
tradesman but, of the artist. Hornes involvement in this movement led
him to be widely regarded as William Morris (1834-1896) successor.
However, by the end of the 19th Century, Hornes interests has turned
towards the Italian Renaissance and in 1904, he moved to Florence, so
that he could study the subject more fully. He sold his collection of
English watercolours to Edward Marsh (18721953) to support this.
Edward Marsh was a polymath, civil servant and patron of the arts.
He acted as Private Secretary for a number of government ministers
including, for twenty-three years from 1905, Sir Winston Churchill
(1874-1965). He not only collected British watercolours and paintings of
the 18th and 19th centuries, but also formed one of the most important
collections of Modern British art, patronising contemporary artists such
as Gaudier-Breszka, Stanley Spencer, John and Paul Nash, Christopher
Richard Wynne Nevinson and Duncan Grant amongst others. He acted
as Rupert Brookes literary executor following the poets death in 1915,
and served as a trustee of the Tate Gallery, and as a governor of the Old
Vic Theatre, London.

Century British art, in particular the artists and patrons of the Grand
Tour. Amongst his numerous roles he served as a Trustee of the National
Gallery (1954-1961) and as Chair of the National Art Collections Fund
(1975-1980). He inherited a large collection of British and European Art,
upon which he continued to build, forming one of the great collections
of the 20th Century.
Sir Hugh Walpole (1884-1941) was one of the most prolifc and popular
authors of the frst half of the 20th Century, who also wrote Hollywood
flm scripts in the 1930s. However, his reputation and his confdence
were badly shaken when he was lampooned by Somerset Maugham in
Cakes and Ale and his style of writing fell from favour after the Second
World War.
Mrs Janet Camp Troxall (1897-1987) was a leading authority in the
United States on Rossetti and his circle. She published widely on the
subject and left her collection of over three thousand manuscripts relating
to the subject to Princeton University.
That the present drawing formed part of some of the worlds most
eminent collections, including those who were not regarded as collectors
of Victorian Art, is a testament to its captivating qualities and its ability
to transcend genres.

Sir Brinsley Ford (1908-1999) was an art historian, connoisseur, collector


and patron of the arts. He was an authority on many aspects of 18th

23

*4

Dante Gabriel Rossetti (1828-1882)


Study of a female head, in three-quarter-profile to
the left, holding a flower stem
signed with monogram and dated 1865 (lower right)
pencil on paper
14 x 10 in. (35.7 x 25.4 cm.)

O50,000-80,000

$74,000-120,000
70,000-110,000

PROVENANCE:

L.S. Lowry, R.A.


with Colnaghis, London, where purchased by the present owners.
LITERATURE:

V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882),


Oxford, 1971, I, p. 227, no. 714, pl. 492.
In her catalogue raisonn, Virginia Surtees considers whether the present
drawing was a discarded study for the bridesmaid in the right foreground in
The Beloved (Tate Gallery, London, fg. 2). There are certainly similarities,
the bridesmaid is holding a fower stem and there is a similarity in treatment
of the fgure, although that could be because the sitter for both the
bridesmaid and the present drawing is the same. Alternatively she suggests it
could relate to Sybilla Palmifera (Lady Lever Art Gallery, Port Sunlight, fg.
1), where the single fgure sits enthroned holding a palm leaf.
The sitter of the present drawing is Ellen Smith, a laundry maid who sat
to many of the artists of the day including, Rossetti, Boyce, Burne-Jones,
Poynter, and Spencer Stanhope amongst others. Boyce frst mentions her
as sitting to Rossetti, in his diary for 13 April 1863 and she sat for many
of his most accomplished works, including Washing Hands (1865), The
Beloved (1865-6), The Christmas Carol (1867) and Jolie Coeur (1867). Sadly

Fig 1: Dante Gabriel Rossetti, Sybilla Palmifera, c.1865-1870, oil on


canvas Lady Lever Art Gallery, National Museums Liverpool/ The
Bridgeman Art Library

24

her modelling career appears to have been cut short when she was attacked
by a brute of a soldier and her face disfgured. However, Boyce mentions
in his diary of 17 February 1873, that Ellen Smith, now Mrs Elson, called
on me to tell me that she had been married about 3 weeks again to an old
acquaintance and suitor, a cabman. She wishes to do some laundry work
on her own account, as her husbands earnings are small.
This drawing was formerly in the collection of the artist L. S. Lowry, who
followed in the tradition of artist collectors, dating back centuries to artists
such as Van Dyck, Lely, Reynolds and Lawrence. It is diffcult to see the
connection that Lowry, with his industrial scenes and matchstick fgures,
could have with the voluptuous and soulful fgures produced by the earlier
artist. Yet Lowry appears to have been almost obsessive in his collecting
of Rossettis work, amassing at least sixteen works by the artist. David
Bathurst, writing in his article Talking to Lowry for the Christies Review
of 1964-5, noted the he collects with an insatiable zeal. Few things can
drag Lowry away from the north of England, but, as he says himself, Id
be on the 11:58 tomorrow if you had another like the one I bought in
April. I have nightmares sometimes that Christies are going to hold an
entire sale of Rossettis.

Fig. 2: Dante Gabriel Rossetti, The Beloved,1865-6, oil on canvas


Tate, London

*5

Dante Gabriel Rossetti (1828-1882)


Portrait study of a girl, leaning on one hand, the
other arm hanging down, for Desdemonas Death
Song
black chalk on two joined sheets of pale blue prepared paper
41 x 29 in. (104.2 x 75 cm.)

500,000-800,000

$740,000-1,200,000
700,000-1,100,000

PROVENANCE:

D.G. Rossetti (); Christies, London, 12 May 1883, probably lot 17


(4 gns to Watts-Dunton).
Theodore Watts-Dunton.
Anonymous sale; Sothebys, London, 10 November 1981, lot 38.
Anonymous sale; Christies, London, 14 May 1985, lot 192.
with Christopher Wood, London, where purchased by the present owners.
LITERATURE:

H.C. Marillier, Dante Gabriel Rossetti, London, 1899, no. 287.


V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882),
Oxford, 1971, pp. 150-1, possibly no. 254f.

26

Fig.1: Dante Gabriel Rossetti, Alexa Wilding as


Desdemona, 1875, coloured chalks on paper, sold
Christies London, 23 November 2005, lot 19

Fig. 2: Dante Gabriel Rossetti, Desdemonas Death Song: a fragment, oil on canvas laid on
board, sold Christies, London, 17 June 2014, lot 61

Rossetti has taken his inspiration from Shakespeares Othello, Act IV,
scene iii, where Desdemona is seen getting ready for bed with her maid
Emilia arranging her in her nightly wearing; and combing out her hair.
Desdemona, upset by Othellos groundless accusations of infdelity, is
eager to comply with his request that she retires to bed and whilst getting
ready remembers a song she learnt from her mothers maid, who had been
deserted by her lover. Desdemona describes how the song, Will not go
from my mind; I have much to do, But to go hang my head all at one
side, And sing it.
The poor soul sat sighing by a sycamore tree,
Sing all a green willow:
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow:
The fresh streams ran by her, and murmurd her moans;
Sing willow, willow, willow;
Her salt tears fell from her, and softend the stones;
Sing willow
Rossetti was thinking of the subject as early as 1872, when he suggested it
as a possible subject for one of his most important patrons, the Liverpool
ship owner, F. R. Leyland (see lot 8 for another commission for Leyland).
Leyland had been creating a sumptuous Aesthetic interior at his London
house, 22 Queens Gate, since 1868 and Rossetti felt that it would make
a suitable and splendid centre for other musical pictures in [Leylands]
drawing room... The fgures would come of a moderate life-size without
interfering with its conveniently taking place over [the] piano (V.
Surtees, op. cit., p. 150). A previously unrecorded, highly-fnished chalk
drawing of Alexa Wilding as Desdemona, was sold in these Rooms (23
November 2005, lot 19, fg. 1). It is dated 1875 and serves as a fascinating
insight into Rossettis earlier conception of the subject, which is rather

28

different from that which he began working on a few years later.


It is uncertain when Rossetti actually started work on the composition
to which the present sheet relates, although he was defnitely working
in it towards the end of 1878, when he fnished The Vision of Fiammetta
(private collection). Despite Rossettis enthusiasm for the scheme, the
painting remained unfnished at the artists death ten years later and
survives today as a fragment (recently sold in these Rooms, 17 June 2014,
lot 61, fg. 2) showing Desdemonas head.
A letter that the artist wrote just a fortnight before his death, to the
critic F.G. Stephens, implies that he had only recently begun work on
the painting; he wrote that he had designed and begun painting lately a
good sized picture of Desdemona singing the Willow Song while Emilia
dresses her hair. The touching belief he had expressed to Stephens, in the
same letter that the picture would certainly be one of my best and most
attractive things, was never realised. However, that he produced eight
studies including the present drawing, monumental in scale, is testament
to the importance he placed on the idea.
Three of the studies, all executed in black chalk, similarly sized are on two
joined-sheets. One is a highly detailed compositional drawing, showing
Emilia brushing Desdemonas hair, which was sold in these Rooms (lot
4, 24 November 2004, fg. 3) and is now in the National Gallery of Art,
Washington . Here Desdemona sits impassively whilst her hair is brushed,
her lips slightly parted, as if singing. A second sheet now in Birmingham
Museums and Art Gallery depicts the fgure of Desdemona, alone, lost
in thought, her head on one hand and her hairbrush hanging forgotten
in her left. In the present drawing however, Rossettis intention appears
to have been the melancholic emotions of the sitter, and the emphasis
is on her face and expression, and on her arms, her nightclothes being

Fig. 3: Dante Gabriel Rossetti, Desdemonas Death


Song, black chalk with traces of red chalk, on two joined
sheets, sold Christies, London, 24 November 2004, lot 4

Fig. 4: Dante Gabriel Rossetti, The Death of Lady Macbeth, c.1875, graphite on paper
Tullie House Museum & Art Gallery, Carlisle / The Bridgeman Art Library

merely sketched in. Her arm hangs heavy without the brush and our eye
is drawn to the carefully-sculpted face. The fact that her night clothes are
merely sketched in and her hair still piled up on her head, means that our
eye is constantly drawn to the carefully delineated form of her hauntingly
beautiful face, emphasising the almost otherworldliness of her expression,
reminding us of her fate.
Both Jane Morris and Marie Stillman have in the past been suggested as
models for the subject. In a surviving letter Rossetti records, I am still
expecting Mrs Stillman to get about my new Desdemona picture from her. I have
it all in my head (letter to Jane Morris, 27 August 1879, British Museum).
However, neither women are particularly recognizable in any of the
surviving drawings and the sitter appears more likely to be Alexa Wilding,
who was the model for the earlier 1875 study (fg. 1).
The work of Shakespeare infuenced Rossetti throughout his life. As early
as circa 1846 Rossetti explored the subject of Helena and Hermia (Surtees,
op. cit., no. 26) from Act III, scene ii of A Midsummer Nights Dream. By
1850 he was contemplating a watercolour illustrating Much Ado about
Nothing (Surtees, op. cit., no. 46). In 1858 he was exploring Hamlet and
Ophelia, a subject he returned again in the mid-1860s and indeed it was
Hamlet more than any other play which captured his imagination in his
early maturity (lot 1).
By the early 1870s, however, Rossettis approach to Shakespeare had shifted
and he began to explore subjects laden with menace and dark foreboding.
Not only does he explore the subject of Othellos Desdemona, depicting
her at the very moment she awaits her husband and ultimately her death,
but he embarks on an even darker subject, that of the death of Lady
Macbeth, surrounded by distraught waiting women and monks frantically
invoking heavenly intercession (fg. 4). Taken together they seem to refect
the emotional turbulence of the artists later life.

John Christian has suggested that Rossettis interest in Desdemonas


willow song sprang not from any particular musical instinct but from
an association in his mind between Jane Morris and the word willow.
In December 1868 he had written a sequence of four sonnets entitled
Willow-wood, in which he had explored his and Janes fraught
relationship. Furthermore in 1871, he painted Water-willow, a portrait
of Morris, holding willow branches, with Kelmscott Manor, where
they had spent most of their happiest times, in the background. Such
deeply autobiographical, or auto-psychological (as Rossetti termed
it), undertones is not unusual in Rossettis work and the inclusion of
elements of his own life and beliefs in his art, whether consciously or
subconsciously, was something that the artist acknowledged.
Theodore Watts Dunton (1832-1914), who purchased the drawing from
Rossettis studio sale, was a lawyer, literary writer and poet and close
friend of Rossettis during the last years of his life. Watts Dunton practiced
as a solicitor in London and wrote widely for various publications
including the Examiner from 1874, the Athenaeum from 1875, as well
as contributing several articles to the Encyclopaedia Britannica, including
most notably the entry on Poetry for the 9th Edition. His frst volume of
poetry published under his own name was not released until 1897. Watts
Dunton is also remembered for inviting Algernon Swinburne to live
with him and rescuing him from alcoholism; Swinburne remained with
Watts Dunton until his death in 1909. Theodores sister and brother-inlaw (a fellow solicitor) and their son, as well as later on, a second sister
and Henry Treffry Dunn, one of Rossettis studio assistants, all lived with
Watts Dunton, who only married in 1905.

29

*6

Dante Gabriel Rossetti (1828-1882)


Beatrice: A portrait of Jane Morris
signed with monogram and dated 1879 (upper left) and inscribed
Beatrice Tanto gentile e tanto onesto pare Dante Vita Nuova
(on the reverse) and with inscription 104 Head of a Lady 1879/DG
Rossetti/42/12/3 (on a label attached to the frame)
oil on canvas
14 x 11 in. (36.5 x 30 cm.)
In the artists original frame

700,000-1,000,000

$1,100,000-1,500,000
970,000-1,400,000

PROVENANCE:

D.G. Rossetti (); Christies, London, 12 May 1883, lot 104,


as Head of a Lady (40 gns to C.A. Howell, on behalf of Charles Butler).
Captain H.L. Butler.
with Peter Nahum, London, March 1985, where purchased by the
present owners.
EXHIBITED:

London, Peter Nahum, A Celebration of British and European Painting of the


Nineteenth and Twentieth Centuries, September 1984 - December 1985.
LITERATURE:

H.C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of his Art and
Life, London, 1899, no. 250 (dated incorrectly).
Masterpieces of Rossetti, London and Glasgow, 1923, p. 47.
G. Pedrick, Life with Rossetti, 1964, p. 195.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti, Oxford,
1971, vol. 1, p. 152, no. 256.

30

Fig. 1: Dante Gabriel Rossetti, Mariana, 1870,


oil on canvas Aberdeen Art Gallery & Museums
Collections

Fig 2: Dante Gabriel Rossetti, The Salutation of Beatrice,


sold Christies, London, 31 May 2012, lot 14

Beatrice Portinari was the Florentine girl who represented the ideal of
spiritual love for the great Italian poet Dante (1265-1321). He frst met
her at the age of nine, and when they re-met nine years later he felt as if
intoxicated. When she died in 1290 he almost lost his sanity. His love for
her is celebrated in prose and verse in La Vita Nuova, published in 1293;
and she reappears in his masterpiece, the Divina Commedia, guiding him
towards the ultimate experience of celestial bliss in heaven.
Dante dominated the intellectual life of Rossettis father, Gabriel Rossetti,
an Italian political refugee who held the post of Professor of Italian at
Kings College, London. His son was named after his fathers hero and
he too became obsessed with the fgure of Dante, publishing translations
of the Vita Nuova and other works in his Early Italian Poets (1861), and
illustrating episodes from the poets writings. Perhaps the best known
example is Beata Beatrix (1872, Tate, London), conceived before the death
of Rossettis wife, Lizzie Siddal, in 1862, but painted later and generally
regarded as his memorial to her. Rossetti described the picture as a
symbolic representation of Beatrices death, showing her rapt from Earth
to Heaven as she sits on a balcony overlooking Florence.
Our picture dates from 1879, and as Virginia Surtees notes it is clearly
related to Mariana (fg. 1, 1870, Aberdeen Art Gallery) in which Jane
Morris poses as the character from Shakespeares play, Measure for Measure.
Mariana also appears in a poem by Alfred, Lord Tennyson, another of
Rossettis heroes. In our painting, and the Aberdeen example, the sitter
gazes out at the viewer introspectively, in Marianas case thinking of her
lost lover and hoping for an eventual reunion. However Rossetti has
made it clear that our painting is a Beatrice as he has inscribed a quotation
from La Vita Nuova on the reverse: Tanto gentile e tanto onesto pare (so
gentle and so honest it seems).
Dantes meetings with Beatrice, whether on earth or in heaven, were
a never-ending source of interest to Rossetti, inspiring a number of
paintings from the early 1850s until his death in 1882, when a large
Salutation of Beatrice (Toledo Museum of Art, Toledo, Ohio), painted for
the Liverpool shipowner F.R. Leyland, was still on the easel. Another
work entitled The Salutation of Beatrice was sold in these Rooms on 31
May 2012 (lot 14) for 2,169,250 (fg. 2, private collection).

32

Fig 3: Jane Morris, a photograph taken by


John R. Parsons in the garden at 16 Cheyne
Walk, Chelsea, July 1865

Jane is as pervasive a presence in Rossettis later work as Lizzie Siddal is


in his early watercolours and drawings (For drawings of Lizzie Siddal
by Rossetti see lots 1 and 2). Born in 1839, the daughter of an Oxford
stablehand or ostler, she came to the attention of the Pre-Raphaelite
Circle in the summer of 1857 when Rossetti and an entourage of
followers, including William Morris and his close friend Edward
Burne-Jones, descended on the town to paint murals illustrating the
Morte dArthur in the new debating chamber at the Union. Struck by
her unusual beauty and statuesque fgure, Rossetti asked her to sit for his
mural, and even at this stage they seem to have been mutually attracted.
But Rossetti was already engaged to Lizzie Siddal, and it was Morris,
who had also fallen for her, that Jane married in 1859.
She was never really in love with him, marrying him at least partly for
his wealth and social position, and when Lizzie died from an overdose
of laudanum in February 1862, probably taking her own life in a ft of
depression, the stage was set for a renewal of intimacy between Jane and
Rossetti. In the summer of 1865 Jane posed for a well-known series
of photographs in the garden at 16 Cheyne Walk, Rossettis house in
Chelsea (fg. 3). In 1868 she sat to him for a formal portrait and began
modelling for a series of imaginative compositions that represent one of
the most powerful manifestations of later Pre-Raphaelitism. Their affair
lasted from the late 1860s until about 1875, and during the years 18714 they managed to spend long periods of time together at Kelmscott
Manor, the sleepy old Cotswold house on the upper Thames which
Rossetti and Morris had recently taken as co-tenants. Much about their
relationship remains obscure, and Jane herself destroyed vital evidence by
burning most of her lovers letters for the years 1870-77. One surviving
letter, dated 18 February 1870, indicates the strength and desperation of
Rossettis love: Dearest, kindest JaneyTo be with you and wait on you
and read to you is absolutely the only happiness I can fnd or conceive
in this world, dearest Janey (R.C.H. Briggs, Letters to Janey, op. cit., p.
10). She eventually brought the liaison to an end because of Rossettis
increasingly disturbed state of mind and dependence on chloral, although
they remained on affectionate terms and Jane continued to model for him
and to inspire major works.

In the original frame

Our picture belongs to a relatively late stage of the love affair. It is a


decade later than the important group of likenesses dating from 1868:
the formal portrait The Blue Silk Dress (Society of Antiquaries, Kelmscott
Manor) and such imaginative conceptions as Aurea Catena, Reverie
and La Pia. It dates in fact to the same year as one of Rossettis most
famous images of Jane Morris, La Donna della Finestra (1879), and was
painted during a time when Jane had been taken ill with an undiagnosed
complaint causing Rossetti to get so nervous and frightened about you
that I dont know how I should have got through the night if I had not
heard (Letter, 2 January 1880, in R.C.H. Briggs, Letters to Janey, Journal
of the William Morris Society, vol. 1, no. 4, 1964, p. 15). The hairpin in
Janes hair appears in many of Rossettis paintings, including Monna Vanna
(1866, Tate, London), Joli Coeur (1867, Manchester City Art Gallery) and
The Bower Meadow (1872, Manchester City Art Gallery). It was part of a
collection of jewellery owned by Rossetti for use as props in his paintings,
and is believed to have been lent to Mrs Howell, the wife of Charles
Howell, Rossettis art dealer and friend, and never returned.
The painting was still in Rossettis studio at his death in 1882 and this may
account for its comparative lack of fnish. It is probable that towards the
end of his life Rossetti focussed his attention on his larger commissions
such as The Day Dream (1880, Victoria & Albert Museum, London) and
Mnemosyne (1881, Bancroft Collection, Delaware Art Museum). For The
Day Dream Janey sat to Rossetti a number of times and he initially titled

it Vanna Primavera Janey in springtime. In our painting Rossetti has


used the same verdant green pigments contrasting effectively with Janeys
lustrous brown hair and clear pink skin. At his death Rossettis studio was
found flled with portrait sketches of her. She had been indispensable to
him as a model, a muse and an object of deep love:
My world, my work, my woman, all my own
What face but thine has taught me all that art
Can be and still be natures counterpart?
(Rossettis notebook, British Museum, Ashley 1410 (2) f. 29).
The painting was bought at Rossettis studio sale by Howell on behalf
of Charles Butler, an historian and scholar, who also served as a Justice
of the Peace and High Sheriff for Hertfordshire. He appears alongside
other signifcant artists, collectors and art dealers in Private View of the
Old Masters Exhibition, Royal Academy, 1888, by Henry Jamyn Brooks
(National Portrait Gallery) and built up his own signifcant art collection
featuring works such as Portrait of Bartholomew Beale by Sir Peter Lely
(Dulwich Picture Gallery), The Madonna and Child from the workshop
of Verocchio (Metropolitan Museum, New York) and most pertinently
Rossettis masterpiece in pastel Pandora, which sold in these Rooms (14
June 2000, lot 14, 2,643,750).

33

*7

Sir Edward John Poynter, P.R.A., R.W.S.


(1826-1919)
Judith
signed with monogram EJP and dated 1881 (centre right)
oil on canvas
18 x 11 in. (46.3 x 31.8 cm.)
In the artists original tabernacle frame with blind fretwork
entablature, composition columns and classical-style theatrical masks

O80,000-120,000

$120,000-180,000
120,000-170,000

PROVENANCE:

Anonymous sale; Sothebys, Belgravia, 9 April 1980, lot 49.


with Peter Nahum, London, November 1984, where purchased by the
present owners.
EXHIBITED:

London, Grosvenor Gallery, 1881, no. 53, as Judith - A study.


LITERATURE:

Grosvenor Notes, 1881, p. 24.


Athenaeum, January-June 1881, p. 629.
C. Monkhouse, Art Journal Art Annual, 1897, p. 32.
This refective depiction of Judith, about to slay the Babylonian general
Holofernes after seducing him, is a magnifcent study of character, full of
pathos. Judith became celebrated as a saviour of the Hebrew people, and
the story was much depicted in Renaissance art. Poynters depiction was
exhibited at the Grosvenor Gallery, the show-case for the avant-garde,
in 1881, fve years after the Gallerys foundation. The picture retains
its original classically ornamented frame designed by the artist, which
features theatrical masks. These subtly reinforce both the antiquity of the
subject, and the sense of tragic narrative.
When exhibited at the Grosvenor Gallery in 1881 a critic wrote: The
reading of the character is original. Judith has a magnifcent head of the
Jewish type. There is something subtle and cruelly resolute about her
golden tinted lean features, which are high-wrought, nervous and oversusceptible, yet noble in their way, and have been drawn and modelled

with completeness and in beautiful style. These features have the fneness
of highly wrought bronze. Judiths dark hair is bound by a tawny
kerchief; about her neck is a row of deep blue beads. She is in the act of
drawing a dagger with a hilt of jade. This is a new and truer type of the
avenger of Israel than the big, blonde woman of Northern origin who
generally does the deed of blood.
The necklace that Judith wears are either rough-cut turquoise or blue
ceramic beads, separated on a simple strand by coral, green and gold
beads. It is probably an Egyptian necklace and a similar example can be
seen around the neck of Frances Catherine Howell, the wife of Charles
Augustus Howell, in her portrait by Frederick Sandys at Birmingham
Museum & Art Gallery. The daggerhead appears to be a jade horsehead,
most probably Asian. Poynter chose accessories for his pictures for their
aesthetic suitability rather than their historical accurateness. His portrait
of Helen of Troy is seen wearing an Indian necklace (1881, Art Gallery of
New South Wales).
Poynter was born in Paris; his father was the architect Ambrose Poynter,
his mother the grand-daughter of the sculptor Thomas Banks. He decided
to become a painter on meeting Frederic Leighton in Rome in 1854, and
Leighton remained his lifetime mentor and hero. Having studied briefy
at Leighs drawing academy and the Royal Academy Schools in London,
Poynter went to Paris in 1856 for further study in the atelier of Charles
Gleyre, a follower of the great J.A.D. Ingres; and it was here that he
absorbed the principles of sound academic draughtsmanship that were
to be his forte as an artist (for drawings by Poynter see lots 16 and 26).
Poynter began to exhibit at the Royal Academy in 1861, but he did not
fnd fame until 1865, when he showed Faithful unto Death (Liverpool), an
emotive image of a Roman soldier remaining staunchly at his post during
the destruction of Pompeii. In 1866 he married Agnes Macdonald, whose
sister Georgiana was married to Burne-Jones and in 1867 he scored
another success at the RA with Israel in Egypt (Guildhall Art Gallery,
London), an elaborate and ambitious work in which he displayed both his
academic understanding of the nude and an Alma-Tadema-like capacity
for archaeological precision. During the late 1860s and early 1870s he
was also involved in a number of major decorative projects: the tile-work
for the Grill Room in South Kensington (1868-70, Victoria and Albert
Museum, London), a mosaic in the Houses of Parliament (1869), and
four large historical paintings for the billiard room at Wortley Hall, near
Sheffeld (1871-9). During the 1880s and 1890s he continued to produce
large classical pictures. He next worked on his most ambitious picture,
the Visit of the Queen of Sheba to King Solomon (188490, Art Gallery of
New South Wales, Sydney). Increasingly, however, the majority of his
exhibition contributions were small-scale, classical genre pictures.
Poynter is remembered today not only as an artist but as an outstanding
teacher. His pedagogic career began when he was appointed to run the
newly-founded Slade School of Art, London, in 1871. He immediately
introduced the principles of French art education that he had imbibed
himself, and although he resigned in 1875, his place was taken by
a Frenchman, Alphonse Legros, while Poynter himself maintained
French teaching methods when he moved on to become principal of
the National Art Training School at South Kensington. Although he
continued to paint to the end, and even resigned the South Kensington
post in 1881 because he felt his creative work was suffering, Poynter
remained deeply involved in art administration. In 1894 he accepted the
directorship of the National Gallery, which at the time traditionally went
to a practising artist. He held the post until 1904, combining it for eight
years with that of President of the Royal Academy in 1896. He is the
only artist ever to have occupied the two positions concurrently, while
in remaining PRA until 1918, a year before his death, he enjoyed one
of the longest tenures of any incumbent. He was knighted in 1896 and
created a baronet in 1902.

In the original frame

34

*8

Dante Gabriel Rossetti (1828-1882)


A study of Mrs Frederick Leyland, bust-length,
for Monna Rosa
signed with monogram and dated May/ 67 (lower right)
pencil and sanguine chalk on paper
12 x 10 in. (31.5 x 27 cm. )
In the original Foord and Dickinson frame

25,000-35,000

$37,000-52,000
35,000-48,000

PROVENANCE:

with The Stone Gallery, Newcastle.


Squadron-Leader D.L. Stevenson; Christies, London, 9 November 1971,
lot 151 (one of three in the lot).
with Peter Nahum, London, where purchased by the present owners.
The present drawing is one of a series of studies of Mrs F. R. Leyland
(1834-1910), the wife of the Liverpool ship-owner, one of Rossettis
most important patrons. The drawings were executed in the summer of
1867 as studies for the painting Monna Rosa (Surtees, op.cit., no. 198).
Rossetti also executed a watercolour version of the subject (fg. 1), which
remained in the artists possession until his death.
Leyland (1832-1892) was one of a number of industrialists who
commissioned works from the artist. A ruthless self-made businessman
who masked his humble origins behind a chilling reserve, Leyland
nevertheless became a key fgure in the development of the Aesthetic
Movement. Under the guidance of Rossetti, the dealers Murray Marks
and Charles Augustus Howell, and the architect Norman Shaw, Leyland
was to create two great Aesthetic interiors in London houses in the
Knightsbridge area, at 22 Queens Gate from 1868, and at 49 Princes
Gate from 1874. The latter was a particularly sumptuous scheme,
in which he realised his dream of living the life of an old Venetian
merchant in modern London. He also had a fne country house, Speke
Hall, near Liverpool.

Fig. 1: Dante Gabriel Rossetti, Monna Rosa,


1867, pencil and watercolour heightened with
bodycolour, sold Christies, London, 24 November
2004, lot 30

Rossetti and Leyland began corresponding in the mid-1860s. In 1865


Rossetti wrote to Leyland stating that he had heard that Leyland wished
to buy a painting from him, and offered him Sybilla Palmifera. By 1867
arrangements were being made for Rossetti to paint a portrait of Mrs
Leyland. The present drawing corresponds very closely to the fnished
work. Other studies of Mrs Leyland exist and the present work is either
a study for, or perhaps a suggestion for, the composition of the painting.
The fnished painting was expanded to be three-quarter-length. On 18
June 1867 Rossetti wrote to Leyland The picture is much advanced,
and in every way altered, as I have again had it considerably enlarged!
Unlike the present drawing, the fnished portrait is far from being a
character study or an expression of the sitters personality; John Christian
describes it as an object designed to take its place in a carefully contrived
decorative ensemble. It was in no way a conventional portrait, but an
exercise in Aestheticism, the sitter dressed in white and gold drapery, a
rose bush grows from a blue-and-white Chinese porcelain jar and in the
background are a bamboo and red lacquer stand, and a peacock feather
fan hangs on the wall. The present drawing, and others from the series,
which Rossetti drew from life, convey an intimacy and immediacy which
have disappeared entirely from the fnished work.
Monna Rosa was among the frst of eighteen paintings that Leyland
commissioned from Rossetti, not including unfulflled commissions. By
the time of Leylands death in 1892 his considerable collection included
works by Burne-Jones (such as The Beguiling of Merlin, now in Lady
Lever Art Gallery, Port Sunlight), Albert Moore, Whistler and others.
Around the same time as Rossetti was painting Monna Rosa, Leyland
commissioned Whistler to decorate his dining room at Princes Gate. The
resulting Peacock Room is considered one of Whistlers greatest works.
After Leylands death, the Peacock Room was sold to the American
industrialist and art collector Charles Lang Freer. It now resides in the
Smithsonian Museums Freer Gallery of Art in Washington, DC. The sale
of Leylands collection was held in these Rooms on 28 May 1892 (fg. 2).

Fig. 2: Frontispiece of the Christies catalogue of


Frederick Leylands sale, 28 May, 1892

*9

Dante Gabriel Rossetti (1828-1882)


Portrait of a lady, bust-length
signed with monogram and dated 1870 (centre right)
coloured chalks on pale blue paper
22 x 16 in. (56.5 x 42.5 cm. )

30,000-50,000

$45,000-74,000
42,000-69,000

PROVENANCE:

Professor Randolph Schwabe.


H. Jefferson Barnes; Christies, London, 2 March 1971, lot 71.
with Peter Nahum, London, where purchased by the present owners.

Whilst Rossetti is perhaps best known for his literary or mythological


works, he also produced remarkable portrait studies. Despite the
immediate differences between his idealised work and his far more
realistic portraits, Rossettis fascination with female beauty ties these two
disparate aspects of his work together. The professional models he used,
such as Alexa Wilding (see lot 5), Marie Ford, and Antonia Caiva, have
become well-known names for their part in the creation of the ideal
Pre-Raphaelite woman. Yet his portrait sitters were frequently wellknown names in their own right; beautiful women with important roles
in society.
Rossetti often depicted family members or the wives and daughters of
his friends and patrons in intimate, personal studies, which have an
extraordinary realism in light of the idealism he is best known for, for
example Mrs. F.R. Leyland (lot 8). The present drawing demonstrates his
facility in capturing not only a likeness, but also his sitters personality.
With her sharply defned features, still mouth, and direct gaze, there is

38

no doubting the strength of the ladys character, which is reinforced by


the lack of jewellery or embellishment, and the simplicity of her dress.
It has not been possible to confrm, but the present drawing has been
traditionally identifed as a member of the Ionides family. There is a
strong resemblance between the sitter and another drawing by Rossetti of
Aglaia Coronis (ne Ionides), now in the Victoria and Albert Museum,
London.
This drawing was formerly in the collection of the artist Randolph
Schwabe (1885-1948), who served as a war artist in both World Wars
and was appointed Slade Professor of Fine Art in 1930; a position he held
until his death fourteen years later. Sir Harry Jefferson Barnes (1915-82)
studied under Schwabe at the Slade. Their relationship became familial
when Barnes married Schwabes daughter Alice in 1941. In 1946 Barnes
was appointed Deputy Director of The Glasgow School of Art, becoming
its Director in 1964.

*10

Sir William Blake


Richmond, R.A.
(1842-1921)
Head study for
The Song of Miriam
dated Feby 1880 (lower right)
pencil and black chalk on pale blue paper
8 x 6 in. (22.2 x 15.2 cm.)

O2,000-3,000

$3,000-4,400
2,800-4,200

PROVENANCE:

Sir John Everett Millais.


Anonymous sale; Christies, London,
5 November 1993, lot 113.
with Agnews, London, where purchased by the
present owners.
This drawing is a study for the head of one of the
central dancers for Blake Richmonds celebrated
The Song of Miriam (exhibited at the Grosvenor
Gallery, 1880, no. 136, see lot 11, fg. 1). The
painting was commissioned by William Gilstrap
and the subject is taken from the Exodus, where
Miriam, the sister of Moses, gives thanks for the
Israelites safe deliverance from Pharaohs army.
The infuence of Leighton, who the younger
artist had long admired, is evident, and the
painting received widespread critical acclaim
despite its being unfnished. Henry Blackburn
in Grosvenor Notes described the picture as
perhaps the most elaborate and scholarly work
of the painter.
Blake Richmond was the eighth child of the
portraitist George Richmond, R.A. (18091896) (see lots 34 and 35), and followed his
fathers profession, establishing himself as a
portraitist of note. His portrait of the The
Sisters, depicting Alice (Lewis Carrollss muse
for Alices Adventures in Wonderland), Lorina and
Edith Liddell is generally regarded as his early
masterpiece. He was knighted in 1897 for his
design and execution of the mosaics in the apse
of St Pauls Cathedral, 1895-1910.
For another study for The Song of Miriam, see
lot 11.

40

*11

Sir William Blake


Richmond, R.A.
(1842-1921)
Head study for
The Song of Miriam
indistinctly inscribed Salford (lower left)
black and white chalk on brown paper
12 x 8 in. (31.2 x 22.3 cm.)

3,000-5,000

$4,500-7,400
4,200-6,900

PROVENANCE:

with Peter Nahum at The Leicester Galleries,


London, where purchased by the present
owners.
As lot 10, this drawing is a study for one of the
central dancers in Blake Richmonds The Song
of Miriam (fg. 1).

Fig. 1: Sir William Blake Richmond, The Song of Miriam, oil on canvas, sold Christies, London, 26 November 2003, lot 82

41

*12

Sir Edward John Poynter, Bt., P.R.A.,


R.W.S. (1836-1919)
Head of a young woman, facing right
dated Jan. 6. 82 (centre right)
sanguine chalk on paper
7 x 6 in. (17.8 x 17. 2 cm.), irregular

2,500-3,500

42

$3,700-5,200
3,500-4,800

PROVENANCE:

with The Maas Gallery, London, where purchased by the present owners.
Poynter was far more academic than his fellow Pre-Raphaelite artists,
having trained at the Royal Academy schools and in Paris at the atelier of
the Neo-classicist Charles Gleyre. However, he was as equally beguiled as
his contemporaries by feminine beauty. Exemplifed by his many portrait
head sketches, of which this is a particularly fne example. Dated Jan. 6.
82, this red chalk study is sensitive, capturing a sense of innocence and
vulnerability in the sitter with her questioning upward gaze. Poynters
masterful handling of the chalk gives a striking immediacy, perfectly
capturing her beauty.

*13

Sir William Blake Richmond, R.A.


(1842-1921)
Female head study, looking up
signed, indistinctly inscribed and dated G. Pradeau[/from his friend/
W.B. Richmond April 15 1882 (lower left) and inscribed Mrs W
Pradeau (on the reverse, according to previous cataloguing)
sanguine chalk, heightened with white on buff paper
16 x 11 in. (40.8 x 29.8 cm.)

3,000-5,000

PROVENANCE:

with The Maas Gallery, London, where purchased by the present owners.
The present sheet appears from the inscription to have been executed
during Blake Richmonds frst visit to Greece in the summer of 1882. The
trip was such a success that he returned again the following year and as a
direct result of these visits he painted An Audience in Athens (Birmingham
City Museum and Art Gallery).
This drawing demonstrates the artists extraordinary ability to capture a
vivid likeness with just a few judicious strokes.

$4,500-7,400
4,200-6,900

43

*14

Sir Edward Coley Burne-Jones, Bt., A.R.A.,


R.W.S. (1833-1898)
The Finding of Medusa
pencil on paper
6 x 5 in. (17 x 14.6 cm.)

4,000-6,000

$5,900-8,900
5,600-8,300

PROVENANCE:

with Agnews, London, where purchased by the present owners.


The present drawing is a study for the Finding of Medusa, the fourth painting in a series
of paintings entitled The Perseus Cycle, which drew upon the version of the legend
of Perseus that appeared in William Morris The Doom of King Acrisius, from The
Earthly Paradise (frst published in 1870).

Fig. 1: Sir Edward Coley Burne-Jones, The Finding of


Medusa, c.1876, gouache on paper Southampton
City Art Gallery/ The Bridgeman Art Library

44

...a third woman paced about the hall,


And ever turned her head from wall to wall
And moaned aloud, and shrieked in her despair;
Because the golden tresses of her hair
Were moved by writhing snakes from side to side,
That in their writhing oftentimes would glide
On to her breast, or shuddering shoulders white;

In 1875, Arthur Balfour commissioned Burne-Jones to design a series of


paintings for his principal drawing room which as Balfour recorded, was
as London drawing-rooms go, long and well-lit, and the happy thought
occurred to me to ask my new friend to design for it a series of pictures
characteristic of his art...The subject I left entirely to him. The choice of
the Perseus legend was therefore not mine, but I have never regretted it.
Burne-Jones initially devised a sequence of ten (later reduced to eight)
subjects mapped out in three large designs, showing their placement
within Morris acanthus wallpaper decorative borders.
Apart from drawing on William Morris for his inspiration, the artist also
spent time at the British Museum looking at treatments of the subject on
Greek Attic vases. Burne-Jones executed numerous preparatory drawings
for the scheme, including small scale studies showing the entire scheme as
he conceived it (Tate Britain) as well as full-scale cartoons (Southampton
City Art Gallery, fg. 1). Only four designs in oil, all of which are now
in the Staatsgalerie Stuttgart, were completed, along with two further
unfnished canvases.

*15

Sir Edward Coley Burne-Jones, Bt.,


A.R.A., R.W.S. (1833-1898)
A Minstrel: Study for The Mill
signed with initials EB-J (lower right)
pencil on paper
13 x 7 in. (33.5 x 17.8 cm.)

12,000-18,000

$18,000-27,000
17,000-25,000

PROVENANCE:

Henrietta Litchfeld.
Sir Geoffrey Keynes.
Margaret Keynes.
with Peter Nahum, London, where purchased by the present owners.
The present drawing is a study for the musician in the far right of BurneJones painting The Mill (Victoria & Albert Museum, London, fg. 1),
begun in 1870 and according to the artists work record, was worked
on intermittently for the next twelve years, particularly in 1870, 1873,
1878, 1879 and 1881. It was fnished shortly before it was exhibited in
1882 at the Grosvenor Gallery. The painting marked a return to a more
colourful and romantic style of painting following a period of severe,
almost monochromatic classicism. Unlike Rossetti, much of BurneJones work has no literary inspiration, but seeks to evoke a mood, in a
comparable manner to the effect of music. The painting was purchased
by Constantine Ionides, a wealthy stockbroker, who formed a large
collection of paintings by contemporary artists. His entire collection
was bequeathed to the Victoria & Albert Museum, and as such is the
only collection formed in England during the Aesthetic period to have
remained together to this day.
Sir Geoffrey Keynes (1887-1982) was a surgeon, scholar and bibliophile,
as well as a prolifc collector of art. He became a leading authority on
William Blake, and was fascinated by the intertwining of art and literature
in the work of the Pre-Raphaelites. Much of his collection was donated
to the Fitzwilliam Museum after his death.

Fig. 1: Sir Edward Coley Burne-Jones, The Mill, 1870, oil on canvas
Victoria and Albert Museum/ The Bridgeman Art Library

45

*16

Sir Edward John Poynter, P.R.A., R.W.S. (1826-1919)


Study of a girls head for Helena and Hermia
with studio stamp (lower right) (L. 874)
pencil and white chalk on grey paper
14 x 9 in. (35.5 x 25 cm.)

O1,000-1,500

$1,500-2,200
1,400-2,100

PROVENANCE:

Sir John Witt (L. 228b).


with Peter Nahum, London, where purchased by the present owners.
The present drawing is a study for the head of the left-hand fgure in Poynters 1901 Royal
Academy exhibit Helena and Hermia (fg.1), which was purchased for the Art Gallery of South
Australia, Adelaide, in 1902. The painting depicts a scene from Shakespeares A Midsummer Nights
Dream, Act III, scene ii, where Helena describes their carefree, happy school days together:
O! Is it all forgot?
All schooldays friendship, childhood innocence?
We, Hermia, like two artifcial gods,
Have with our neelds created both one fower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices and minds,
Had been incorporate.
Fig. 1: Sir Edward John Poynter, Helena and Hermia,
1901, oil on canvas Art Gallery of South Australia,
Adelaide/ Elder Bequest Fund 1902

46

Poynter also executed a watercolour of the same subject in 1899.

*17

Sir Edward Coley Burne-Jones, Bt.,


A.R.A., R.W.S. (1833-1898)
A seated female figure covering her ears for The
Sleep of King Arthur in Avalon
black, brown, and blue chalk on paper
12 x 6 in. (30.8 x 16.3 cm.)

5,000-8,000

$7,400-12,000
7,000-11,000

PROVENANCE:

with Peter Nahum, London, where purchased by the present owners.


LITERATURE:

P. Nahum, Burne-Jones, The Pre-Raphaelites and their Century, 1989, vol. I,


p. 84, no. 73, vol. II, pl. 54b.
The present drawing is a study for one of the attendant queens sitting
with King Arthurs feet in her lap in The Sleep of King Arthur in Avalon
(Museo de Arte de Ponce, Puerto Rico, fg. 1). Burne-Jones study of the
nude seated form, prior to depicting the draped fgure that we see in the
painting, demonstrates his working practice and the importance he placed
on fully understanding the mechanics of the human form. A photograph
taken by Frederick Hollyer during the painting of the picture, shows that
the nude fgures were laid in and then dressed at a later stage; the present
drawing was copied almost exactly for the fgure in the picture.
Begun in 1881, Burne-Jones was still working on the fnal details of
the picture at his death. It was the artists largest work; so large, that he
took a special studio for it in Campden Hill. It marks a return to the
Arthurian legends that had so fascinated him and William Morris as
young men. Begun as a commission from his friend and patron, George
Howard, 9th Earl of Carlisle, it was intended for the library at Naworth
Castle, Howards Cumbrian seat. However, as it progressed it acquired
increasing personal signifcance, becoming a swan-song into which the
artist poured his deepest feelings (S. Wildman and J. Christian, Edward
Burne-Jones, Victorian Artist-Dreamer, New York, 1998, p. 315). As early
as 1882, Howard acknowledged his friends attachment to the work and,
probably realising that he was unlikely to see the fnished work for a long
time, resigned his right to the commission and the artist painted a simpler
scheme for the library.
A slighter sketch of the head and shoulders of the same fgure was sold in
these Rooms, 11 December 2014, lot 24.

Fig. 1: Sir Edward Coley Burne-Jones, The Sleep of Arthur in Avalon, 1881-1898, oil on canvas
Museo de Arte de Ponce. The Luis A. Ferr Foundation, Inc.

47

*18

Anthony Frederick Augustus Sandys,


A.R.A. (1829-1904)
Proud Maisie
pencil and coloured chalk on paper
15 x 10 in. (40 x 26 cm.)

50,000-70,000

$74,000-100,000
70,000-97,000

PROVENANCE:

A Norfolk Family; Philips, London, 15 April 1985, lot 158.


with Peter Nahum, London, where purchased by the present owners.
EXHIBITED:

London, Peter Nahum, Second Exhibition, Master Drawings of the


Nineteenth and Twentieth Centuries, 1985, no. 6.
LITERATURE:

B. Elzea, Frederick Sandys: A Catalogue Raisonn,, Woodbridge, 2001,


pp. 195-6, no. 2.A.116, illustrated.

Proud Maisie was one of Sandys most popular subjects and one to which
he returned on several occasions. The present drawing was probably
executed not long after Sandys frst exhibited the subject at the Royal
Academy in 1868. Both William Michael Rossetti and A.C. Swinburne
praised the exhibited work in a review of the exhibition, published jointly
in pamphlet form. Swinburne, one of Sandys most ardent admirers, was
particularly enthusiastic. It was, he wrote, one of the artists most solid
and splendid designs; a woman of rich, ripe, angry beauty, she draws one
warm long lock of curling hair through her full and moulded lips, biting
it with bared bright teeth, which add something of a tigers charm to the
sleepy and couching [sic] passion of her fair face. Sandys drawing is a tour
de force, charged with sexual tension and raw emotion.
The model for Proud Maisie was Mary Emma Jones, an actress who took
the stage name of Miss Clive. She had frst sat to Sandys in 1862, and
by 1867 they had established a long-term common law relationship and
produced the frst of ten surviving children. From then on she was his
principal muse, inspiring countless works which celebrate her distinctive
profle and luxuriant tresses. Elzea, (op.cit., p. 16) calls Proud Maisie a kind
of apotheosis of Mary Emma and her spectacular hair. The title by which
the composition became known was taken from The Pride of Youth, a
poem by Sir Walter Scott in The Heart of Midlothian:

48

PROUD Maisie is in the wood,


Walking so early;
Sweet Robin sits on the bush
Singing so rarely.
Tell me, thou bonny bird,
When shall I marry me?
When six braw gentlemen
Kirkward shall carry ye.
Who makes the bridal bed,
Birdie, say truly?
The gray-headed sexton
That delves the grave duly.
The glowworm oer grave and stone
Shall light thee steady;
The owl from the steeple sing,
Welcome, proud lady.
Two versions of the composition are in the Victoria & Albert Museum,
London and there are also versions in the National Gallery of Canada and
the National Gallery of Victoria, Melbourne.

*19

Henry Ryland (1856-1924)


Vanity
signed and dated HENRY RYLAND. 08 (lower right)
pencil and watercolour on paper
21 x 15 in. (54 x 38.7 cm.)

O7,000-10,000

$11,000-15,000
9,700-14,000

PROVENANCE:

with The Maas Gallery, London, where purchased by the present owners.

Henry Ryland had a successful and varied career as a painter, designer


and watercolourist. He initially trained at the South Kensington School
of Art before going to Paris and studying at the Acadmie Julian. He was
infuenced both by Neo-Classicism and the Pre-Raphaelites, and his work
was characterised by a high degree of fnish and comprised primarily of
single fgures within simple classical settings. He exhibited frequently
at the Royal Academy between 1890 and 1903, and the Royal Institute
of Painters in Watercolour. In the 1880s and 1890s, Ryland executed
designs for stained glass and advertisements, notably for Pears. However,
he also established a reputation as one of the foremost neo-classical
painters of the period working in watercolour.
The present watercolour, executed in 1908, can be regarded as amongst
his most accomplished watercolours.

50

*20

Anthony Frederick Augustus Sandys,


A.R.A. (1829-1904)
The Laurel Wreath
signed, indistinctly inscribed and dated The Laurel Wreath/ F Sandys
1902 (upper left, within a cartouche)
pencil and coloured chalks on grey paper
30 x 22 in. (76.8 x 46.8 cm.)

10,000-15,000

$15,000-22,000
14,000-21,000

PROVENANCE:

Sir William Orpen (); Christies, London, 13 July 1934, lot 17 (unsold).
Sir William Orpen (); Christies, London, 5 April 1937, lot 8 (1.11. 6
to J.S. Maas).
Mrs Stead-Ellis, by 1962.
with Peter Nahum, London, where purchased by the present owners.

EXHIBITED:

London, Peter Nahum at the Leicester Galleries, Pre-Raphaelite, Symbolist,


Visionary, 2001, no. 38.
LITERATURE:

B. Elzea, Frederick Sandys: A Catalogue Raisonn,, 2001, p. 292, no. 5.52,


illustrated.
Although never divorced from his frst wife (the marriage only lasted
three days), the actress Mary Emma Jones became Sandys common-law
wife (see lot 18). She gave birth to a large number of children, ten of
whom survived to adulthood and nine of whom were girls. His daughters
inherited their mothers looks and luxuriant hair and became models for
his later works. The sitter for the present drawing was Gertrude (Girlie),
Sandys youngest daughter, who would have been about sixteen. Aged
about six or seven she is the model for My Lady Greensleeves (op.cit., no.
5.8, pl. 68), Wondertime (1900, op.cit., no. 5.40) and The Red Cap (op.
cit., 5.42). Gertrude blossomed into a great beauty and married Walter
Cranes son, Lionel, in 1913.

51

*21

Frederic, Lord Leighton, P.R.A., R.W.S. (1830-1896)


Studies of seated figures for Tessa at home from George Eliots Romola
black and white chalk on blue paper
8 x 11 in. (20.4 x 28 cm.)

2,500-3,500

$3,700-5,200
3,500-4,800

PROVENANCE:

Anonymous sale; Sothebys, London, 11 November 1998, lot 295.


with Peter Nahum, London, where purchased by the present owners.
The present drawing and lot 22 are part of a series of 25 drawings and
fourteen decorated initials Leighton executed for George Eliots Romola:
a historical romance set in Renaissance Florence and serialised in the
Cornhill Magazine 1862-3. Initially Eliot disapproved of Leightons
designs and relations between the two were strained, however they were
eventually reconciled and Leightons drawings were acknowledged to
have contributed to the editions commercial success and the surge in
popularity of illustration.
The present drawing shows Tessa with her child and her old nurse
Monna Lisa after Tito has tricked her into a sham marriage. The fnished
engraving is in the reverse direction to this drawing.

52

In the 1860s there was an was a vast increase in the number of books and
periodicals published with black and white line plates, both young artists
and more seasoned professionals provided designs for the wood block
engravers. Artists such as George John Pinwell (1842-1875) and Frederick
Walker (1840-1875) produced watercolours and engravings for the
Dalziel Brothers. Leightons frst commissions as an illustrator came from
the Cornhill Magazine; his drawings of The Great God Pan and Ariadne
appeared as plates accompanying Elizabeth Barrett Brownings poems
A Musical Instrument and Ariadne at Naxos in 1860. Both Leighton
and Poynter worked for the Dalziel Brothers and executed designs for
Dalziels Illustrated Bible during the 1860s.

22

*22

*23

Frederic, Lord Leighton,


P.R.A., R.W.S. (1830-1896)

Charles Fairfax Murray


(1849-1919)

Study of a young woman, for


Under the Plane Tree from
George Eliots Romola

Study of Pharamond and


Azalais for Love is Enough or
the Freeing of Pharamond

black and white chalk on blue paper


11 x 17 in. (28.6 x 43.8 cm.)

inscribed AZALAIS and PHARAMON


(upper left and upper right, within a
cartouche)
brush and brown ink and grey wash,
heightened with white on brown paper
14 x 10 in. (37.8 x 27.3 cm.)

3,000-4,000

$4,500-5,900
4,200-5,500

PROVENANCE:

Anonymous sale; Christies , London, 7 June


1996, lot 563.
Anonymous sale; Sothebys, London, 11
November 1998, lot 286.
with The Leicester Galleries, London.
with Peter Nahum, London, where purchased
by the present owners.
The present drawing relates to the tenth
chapter of Romola in which Tito is distracted
from a more important mission when he
rescues the child Tessa from a carnival crowd
and falls asleep while keeping her company.

1,000-1,500

$1,500-2,200
1,400-2,100

PROVENANCE:

with Campbell Wilson, London, where


purchased by the present owners.
Murray was at the centre of the Pre-Raphaelite
world, working initially as an assistant in BurneJoness studio before working for Rossetti and
then later with Ruskin. The present drawing is
related to William Morris poem, Love is enough
or the Freeing of Pharamond, frst published in
1873. In the poem King Pharamond abandons
his kingdom searching for Azalais, who he has

23

only seen in dreams, but with whom he has


fallen in love. As a result he loses his kingdom,
but realizes that his happiness lies with Azalais
and not in attempting to regain his realm.

53

*24

Evelyn De Morgan
(1855-1919)
A study of Grief, for In
Memoriam
black and white chalk on grey-brown paper
17 x 19 in. (44.5 x 49.5 cm.)

O4,000-6,000

$5,900-8,900
5,600-8,300

PROVENANCE:

with The Maas Gallery, London,


where purchased by the present owners.
Fig. 1: Evelyn De Morgan, In Memoriam,
1898, oil on canvas The De Morgan
Foundation/ The Bridgeman Art Library

54

The present sheet is a drapery study for De


Morgans painting In Memoriam (The De Morgan

Foundation, fg. 1), painted as a refection on


grief, loss and remembrance. Although painted
somewhat earlier, the painting was included in
De Morgans exhibition of 1916, held at her
studio in Edith Road, for the beneft of the
British and Italian Red Cross. It refects De
Morgans desire to depict not the heroic aspects
of war, but the very deep personal emotions of
those suffering. Another study exploring the
pose of the fgure was sold Christies South
Kensington, 15 March 2012, lot 167.
The facility with which De Morgan has
captured the complex drapery in the present
sheet clearly demonstrates not only her training
at the Slade School of Art, where she was
amongst the frst female students to be admitted,
but also her enduring fascination with Italian
Renaissance art.

*25

Frederic, Lord Leighton,


P.R.A., R.W.S. (1830-1896)
Study of three standing draped
female figures for Music
black and white chalk on brown paper
15 x 11 in. (38.7 x 28 cm.)

4,000-6,000

$5,900-8,900
5,600-8,300

PROVENANCE:

Anonymous sale; Sothebys, London,


11 November 1998, lot 285.
with Peter Nahum, London, where purchased
by the present owners.
The present drawing is a study for the group
of singing girls in the centre of the left-hand
half of the Leightons painted frieze Music
(Leighton House, fg. 1), commissioned by
Steward Hodgson as a pendant to The Dance
(also in the collection of Leighton House)
for the drawing room of his London house,
1 South Audley Street. The Dance was exhibited
at the Royal Academy in 1883 and Music
in 1885.

Fig. 1: Frederic, Lord Leighton, Music, 1885, oil on canvas Leighton House Museum/ The Bridgeman Art Library

55

*26

Sir Edward John Poynter, P.R.A.,


R.W.S. (1826-1919)
Study for Diadumeng
dated Dec. 20. 81 (centre right)
sanguine chalk on paper
14 x 10 in. (36.8 x 25.5 cm.)

O3,000-5,000

$4,500-7,400
4,200-6,900

PROVENANCE:

Anonymous sale; Christies, London, 3 June 1994, lot 87.


Anonymous sale; Sothebys, London, 11 November 1998, lot 294.
with Peter Nahum, London, where purchased by the present owners.

56

The present red chalk drawing, dated Dec. 20. 81 is the earliest of three
known studies for Poynters nude bathing subject Diadumeng, a version
of which was exhibited at the Royal Academy in 1884 (Exeter City
Museums and Art Gallery). When a larger version was exhibited at the
Royal Academy in 1885, accusations of indecency were levelled at the
painting, resulting in the addition of drapery to the naked fgure. Poynter
defended his conception by citing prototypes from classical antiquity
including Polycletus male statue The Diadumenos or Fillet binder and
the Esquiline Venus, which had been discovered in 1874. In the fnished
work the womans pose is echoed in a silver statuette in the background,
emphasising the pictures classical infuences.
Another study for the fgure, dated Feb. 13. 82 was sold in these Rooms
on 6 November 1995 (lot 65), and a third, dated 12 June 1884, is
illustrated in M. Bell, The Drawings of Sir E.J. Poynter, 1905, pl. 27.

l*27

Augustus Edwin John, O.M., R.A.


(1878-1961)
Female nude seated
signed John (lower left)
pencil on paper
18 x 12 in. (45.8 x 31.8 cm. )

10,000-15,000

$15,000-22,000
14,000-21,0000

PROVENANCE:

with Agnews, London, where purchased by the present owners.

Stylistically this striking full-length nude surely dates from circa 1907,
when John was at the height of his ability as a draughtsman. In his
economy of line there is an urgency and confdence which recalls Ingres,
and his remarkable early technical ability shines through in his mastery of
the female form. John, although later than the Pre-Raphaelites who make
up most of this collection, shared not only their obsession with female
beauty, but also their lyrical interpretation of its form through numerous
studies and sketches of both heads and nudes.
There is something in the disposition of the sitters features, and the long,
elegant nose which is reminiscent of Alexandra Alick Schepeler, one of
Johns most striking and well known models, with whom he had a longrunning affair, and obsessed over artistically from 1906-7. She was prone
to fts of melancholy and depression, hinted at here in her downward
gaze and self-absorption. She was renowned for her mystery, making her
a particularly fascinating subject for John.

57

*28

Simeon Solomon (1840-1905)


Mercury
signed with initials and dated SS/1885 (lower right)
pencil on paper
12 x 9 in. (31.8 x 24.2 cm.)

O2,000-3,000

$3,000-4,400
2,800-4,200

PROVENANCE:

with The Maas Gallery, London, where purchased by the present owners.
Here, an androgynous young boy wears the winged helmet of Mercury,
with a high, military-style collar. Solomon has rejected the traditional
fat helmet in favour of a more contemporary style, as seen in his Perseus
with the Head of Medusa from the following year, as well as Twilight, Pity
and Death (1889). The work is unusual in Solomons oeuvre for its full
face depiction and the direct gaze of the sitter towards the viewer, as well
as for its lack of the melancholy so often associated with Solomons late
work.

28

*29

Simeon Solomon (1840-1905)


Profile of a young man
signed with monogram and dated 1889 (lower right)
watercolour on paper
9 x 8 in. (24.5 x 22 cm. )

O2,500-3,500

$3,700-5,200
3,500-4,800

PROVENANCE:

with Peter Nahum, London, where purchased by the present owners.


In the latter part of his life, Solomons watercolours tend towards a
mystical, dreamlike state. Here, a young man in a turban gazes into the
distance, his features suggested rather than pinned down on the page.
The rich tones of the sky behind threaten to engulf him, giving a sense
of human isolation and insignifcance.

29

58

*30

Simeon Solomon (1840-1905)


Erinna of Lesbos: Study of a female head with a
wreath of leaves in her hair, in profile, facing right,
bust-length
signed with initials and dated 1886 (lower right) and inscribed
ERINNA OF LESBOS (lower centre, in a cartouche)
sanguine chalk on paper
6 x 5 in. (17.2 x 13.1 cm.)

2,000-3,000

$3,000-4,400
2,800-4,200

PROVENANCE:

Anonymous sale; Sothebys, London, 21 September 1988, lot 411.


with Peter Nahum, London, where purchased by the present owners.
Solomon depicted Erinna, and her lover Sappho, throughout the 1860s,
culminating in Sappho and Erinna in a Garden at Myteline (Tate Britain).
His fascination with their poetry and relationship endured, and twenty
years later he returned to the subject to make this drawing. Here, Erinna
is depicted in a more masculine way, wearing a laurel wreath on her head
more often associated with Sappho. Her closed eyes and strong features
recall those of Sappho in the Tate watercolour, giving the impression that
Solomon is asserting the often overlooked Erinna, both as the dominant
partner in their relationship, and as a talented poet in her own right.

30

*31

Simeon Solomon (1840-1905)


Head of a woman, in profile, facing left
signed with initials and dated SS/ 1899 (lower left)
black chalk on paper
12 x 11 in. (32.8 x 28.3 cm.)

2,000-3,000

$3,000-4,400
2,800-4,200

PROVENANCE:

with Campbell Wilson, Aberdeenshire, where purchased by the present


owners.
This drawing moves away from the stylisation often seen in Solomons
female heads, and presents a realism unusual in his late work. As such it
seems likely that this is a portrait of an individual rather than a study for
an allegorical or religious work. The use of the cream tone of the paper as
the skin-tone, with the black chalk merely adding shadow, gives his sitter
a remarkable radiance and strengthens her handsome features.

31

59

*32

Alice M. Scott (1800-1889)


Enid. And seeing her so sweet...
pencil and watercolour with scratching out, on paper laid on panel
48 x 18 in. (123.8 x 45.7 cm. )
In the original Foord and Dickinson frame

5,000-8,000

$7,400-12,000
7,000-11,000

PROVENANCE:

with The Maas Gallery, London, where purchased by the present owners.
EXHIBITED:

London, Royal Academy, 1881, no. 743


And seeing her so sweet and servicable,
Geraint had longing in him evermore
To stoop and kiss the tender little thumb,
That crost the trencher as she laid it down
Whilst little is known of Alice Scott, she exhibited seven works at the
Royal Academy between 1880 and 1889. She largely took her subjects
from the works of the Romantic poets, titling them with quotes relating
to the scene illustrated. This work depicts the moment in the third
episode of Lord Tennysons Arthurian poem, The Idylls of The King, when
Geraint realises his love for Enid and decides to marry her.

60

*33

Emma Sandys (1834-1877)


Portrait of a young lady, bust-length
signed with monogram and dated 1873 (upper left)
pencil and coloured chalks, heightened with bodycolour on buff
paper
17 x 13 in. (45.2x 35.3 cm.)

2,500-3,500

$3,700-5,200
3,500-4,800

PROVENANCE:

with Peter Nahum, London.


Anonymous sale; Sothebys, London, 25 January 1988, lot 439 (unsold).
Anonymous sale; Sothebys, London, 3 March 1993, lot 35.
with Ealing Gallery, London.
Anonymous sale; Christies, South Kensington, 23 March 2005, lot 119.
with Campbell Wilson, Hove, where purchased by the present owners.

EXHIBITED:

Manchester, Manchester City Art Galleries, Pre-Raphaelite Women Artists,


1997-8, no. 33.
LITERATURE:

Pre-Raphaelite Women Artists, exh. cat. Manchester City Art Galleries, p.


122, illustrated p. 84.
Emma Sandys was the younger sister of Augustus Frederick Sandys (lots
18 and 20) and she often sat for her brother. Pamela Gerrish-Nunn,
in her catalogue to the Manchester exhibition, suggests that this was a
commissioned portrait. The screen at the sitters right shoulder reveals
the contemporary craze for Japonisme, in keeping with the sitters role
as a patron of taste.

61

*34

George Richmond, R.A. (1809-1896)


Portrait of William Benson, bust-length
signed and dated George Richmond. delit. 1855 (lower left)
black, white and red chalk on buff paper
23 x 17 in. (59 x 45 cm.)

3,000-5,000

$4,500-7,400
4,200-6,900

PROVENANCE:

Anonymous sale; Christies, London, 17 November 1992, lot 24.


David Daniels and Steven Baloga (); Sothebys, New York, 29 October
2002, lot 124.
with The Maas Gallery, London, where purchased by the present owners.
LITERATURE:

R. Lister, George Richmond: A Critical Biography, London, 1981, p. 152,


no.105
David Daniels and Stevan Beck Beloga created perhaps the most
remarkable collection of nineteenth-century drawings of their time.
Valuing draughtsmanship above all, and ignoring fashion, their collection
spanned Europe and America, largely focusing on the fgurative,
including work by Delacroix and Degas, alongside Strang, Hunt, and
Leighton. Richmond was particularly well-represented in the sale of
their collection in 2002, demonstrating their respect for his extraordinary
ability to capture likeness.

34

*35

George Richmond, R.A. (1809-1896)


Portrait of a young man, seated, half-length
signed and dated G Richmond delt 1895 (lower right)
pencil and watercolour heightened with white on paper
12 x 9 in. (32.7 x 24.5 cm.)

1,000-1,500

$1,500-2,200
1,400-2,100

PROVENANCE:

with Appleby Brothers, London, where purchased by David Daniels,


September 1970.
David Daniels and Steven Baloga (); Sothebys, New York, 29 October
2002, lot 124.
with The Maas Gallery, London, where purchased by the present owners.
This bust-length portrait is a remarkably highly-fnished and rare
example of Richmonds late work. It also marks a return to watercolour,
Richmonds early preferred medium, overlooked in the middle of his
career for more commercial oils.

35

62

*36

George Frederic Watts,


O.M., R.A. (1817-1904)
Head study of Henry Wyndham
Phillips (1801-1876), bustlength
black chalk on paper
23 x 19 in. (60.3 x 50.2 cm.)

7,000-10,000

$11,000-15,000
9,700-14,000

PROVENANCE:

Anonymous sale; Phillips, London, 2


November 1987, lot 147.
with Spink, London, where purchased by the
present owners.
LITERATURE:

B. Bryant, G.F. Watts, Fame and Beauty in


Victorian Society, London, 2004, p. 88
This lively chalk drawing of Watts good friend
Henry Phillips is a study for the portrait now
in the collection of the Viscount Allendale (fg.
1). Phillips, the son of the highly successful
portraitist Thomas Phillips, R.A. (1770-1845),
was also an established artist, and although he
never achieved the same success as Watts, they
worked alongside each other. The friendship
of the two men is evident here in the close,
relaxed pose of the sitter, seemingly unaware
of the artist, and the sensitive rendering of
the features. It seems likely that it was drawn
around 1852, when Phillips took over Watts
Charles Street studio and the two men became
founding members of the Cosmopolitan Club,
later based in that same studio. The drawing
is characteristic of Watts work of the early
1850s, with Phillips depicted as clean-shaven
and fairly young, in contrast to all other
known portraits of him, in which he is older
and considerably more hirsute. In the fnished
painting, Phillips trade is clearly indicated by
the tools on the baize table and the sculpture
looming behind, here the only indication is the
somewhat bohemian air given by his loosely
tied neck-scarf.

Fig. 1: George Frederic Watts, Henry Wyndham Phillips, c. 1852-1855,


oil on canvas Collection of Viscount Allendale

63

37

38

*37

Edward Henry Fahey, R.I. (1844-1907)


A girl playing with a cat in an interior
signed EDWD. H. FAHEY. RI. (lower left)
oil on canvas
36 x 28 in. (91.5 x 71.7 cm.)

7,000-10,000

$11,000-15,000
9,700-14,000

PROVENANCE:

Anonymous sale; Sothebys, London, 29 February 1984, lot 171.


with Christopher Wood, London, where purchased by the present owners.
Fahey was a painter in both oils and watercolours of landscapes, portraits
and genre subjects, who studied at the Royal Academy after 1869. He
lived primarily in London but travelled throughout the Continent,
seeking inspiration for his work. He was a member of a group of artists
known as The Poetry Without Grammar School who greatly admired
the work of their contemporary Burne-Jones. He was elected a member
of the Royal Institute of British Watercolourists in 1872, and exhibited
at the Royal Academy, Royal Scottish Academy and Royal Hibernian
Academy.

64

This intriguing interior with sumptuous decorative details such the brass
jardinires, Japanese-style titami floor-matting and bamboo hanging pots
full of scented geraniums, and other ornate fabrics and pieces of furniture.
During the second half of the 19th Century travel to the Far East became
much more possible, the influence of which could shortly after be seen
in interior decoration and fashion: In its earliest phase, the Aesthetic
Movement was dominated by the vogue for Japanese art, which was the
most important of the external influences on European design during the
second half of the Nineteenth Century. The Aesthetes fetishized blue and
white china and swooned over oriental prints, and Westernized versions
of Japanese colours, decoration and forms were adopted within almost
every area of the decorative arts (J. Banham, S. Macdonald and J. Porter,
Victorian Interior Style, London, 1995, p. 111). A similar decorative scheme
could be found at Sir Lawrence Alma-Tademas Townshend House,
in Regents Park, which was faithfully recorded in watercolour by his
daughter, Anna (The Drawing Room, Townshend House, 10 September 1885,
Royal Academy of Arts). The embroidered oriental wall-hangings which
frame the sitter in her vivid red velvet dress are comparable to those seen
in Faheys Tea Time and Treats (circa 1890, private collection).

*38

Albert Ludovici, Jun.,


R.B.A. (1852-1932)
A Minuet
signed A. Ludovici (lower left)
oil on panel
12 x 7 in. (30.5 x 19 in.)

O2,000-3,000

$3,000-4,400
2,800-4,200

PROVENANCE:

Anonymous sale; Sothebys, London,


10 November 1981, lot 84.
with Christopher Wood, London,
where purchased by the present owners.
The son of a painter (also called Albert
Ludovici), Ludovici Junior was born in Prague,
although his family seems to have lived in
England from his very early childhood. He
studied in Paris and in1878 Ludovici joined the
Society of British Artists, for which his father
acted as Treasurer. When Whistler was elected
President of the Society in 1886 Ludovici
served on the committee. They worked closely
together and became loyal friends, Whistler
referring to him as his trusty Aide de Camp!
(Whistler to Ludovici letter, 24 March 1886).
In 1886 Whistler took The Times to task
for ignoring one of Ludovicis paintings on
exhibition in the Society of British Artists.
Having been previously attracted by French
naturalism and Impressionism, Ludovici
was increasingly drawn to Whistlers work,
particularly his use of tone and colour. He
exhibited at the Royal Academy from 1880,
the Royal Society of British Artists from 1881,
the Paris Salon from 1884, the New English
Art Club from 1891, as well as the Grosvenor
Gallery, the New Watercolour Society and the
Socit Internationale de la Peinture lEau.
39

*39

Edward John Gregory, R.A. (1850-1909)


The Pose
signed with initials EJG (lower right) and further signed and
inscribed [The] Pose/E.J. [Gr]egory R.A. (on a label attached to the
stretcher)
oil on canvas
16 x 12 in. (41.3 x 30.8 cm.)

O7,000-10,000

$11,000-15,000
9,700-14,000

PROVENANCE:

Anonymous sale [T.J. Nichols]; Christies, London, 3 December 1917,


lot 143 (9 gns to Carroll).
Anonymous sale [Carrol Gallery]; Christies, London, 29 November
1918, lot 49 (35 gns to Wormald).

Sir John Wormald, K.B.E.; Christies, London, 17 December 1928,


lot 44 (unsold).
Anonymous sale; Christies, London, 19 December 1969, lot 254.
Anonymous sale; Sothebys, Belgravia, 27 June 1978, lot 117.
with Christopher Wood, London, where purchased by the present owners.
This painting exemplifes the Regency Revival of the 1880s especially
relating to the sitters dress. The artist is refected in the convex mirror
above the ladys head and can be seen painting a much larger picture than
ours. Gregory trained at the Royal Academy and made his name with
illustrations for The Graphic magazine. His paintings of modern life were
much admired both at the Grosvenor Gallery and at the Royal Academy,
and his posthumous sale of 106 works held at Christies in June 1905,
included his masterpiece Boulters Lock: Sunday Afternoon, a celebration
of the Thames boating craze. Now in the Lady Lever Art Gallery, Port
Sunlight, Boulters Lock, helped secure Gregorys election to the Royal
Academy in 1897.

65

*40

Sophie Anderson
(1823-1903)
A little girl with a kitten
signed S. Anderson (lower right)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)

10,000-15,000

$15,000-22,000
14,000-21,000

PROVENANCE:

C.C. Grace (according to an inscription on the


canvas).
with W. Sulley, 88 Upper Parliament Street,
Nottingham, 17 February 1873,
where purchased by Sam Moreton.
with Christopher Wood, London,
where purchased by the present owners.

40

Born in France, Anderson moved with her


family to America at the outbreak of the
French Revolution in 1848. She remained in
America, where she had established herself as
a successful artist, until her marriage to the
English artist Walter Anderson with whom she
settled in London in 1854. She later moved to
Capri. Her works can be seen in many public
collections such as The Childrens Story Book
(Birmingham Museum and Art Gallery), Capri
Girl with Flowers (Russell-Cotes Art Gallery
and Museum) and Her Pet Canary (New Art
Gallery, Walsall).

*41

Sophie Anderson
(1823-1903)
The Thrushs Nest
signed with initials (lower left)
oil on canvas
8 x 10 in. (21 x 25.4 cm.)

10,000-15,000

$15,000-22,000
14,000-21,000

PROVENANCE:

with Christopher Wood, London,


where purchased by the present owners.

41

66

*42

Mary Ensor (fl. 1863-1874)

PROVENANCE:

The Four Seasons

with Christopher Wood, London,


where purchased by the present owners.

Winter signed and dated Mary Ensor./1863. (lower right)


oil on board, feigned circles
two 12 x 12 in. (31 x 31.7 cm.);
and two 12 x 12 in. (30.5 x 31.7 cm.)

Little is known about Ensor, a painter of birds, flora and fauna from
Birkenhead, but the extraordinary detail and vibrant colours used here
clearly show the influence of John Anster Fitzgerald (1819-1906),
William James Webbe (fl. 1853-1878), and William Henry Hunt (17901864).

10,000-15,000

(4)

$15,000-22,000
14,000-21,000
67

VARIOUS PROPERTIES

*43

Frederic, Lord Leighton, P.R.A., R.W.S. (1830-1896)


An Athlete wrestling with a Python
signed and dated F.LEIGHTON 1877 XVIII and inscribed PUBD BY ERNEST BROWN
& PHILLIPS / AT THE LEICESTER GALLERIES, LEICESTER SQUARE, LONDON.
bronze, dark brown patina
20 in. (52 cm.), high

50,000-80,000

$76,000-120,000
71,000-110,000

From its frst appearance at the Royal Academy in 1877 The Athlete was recognised as
a major work of British sculpture. Leightons fgure is at once imbued with the spirit of
the Antique (the Laocon is the obvious source) and strikingly modern. It heralded the
beginning of the New Sculpture movement and was considered one of the fnest examples
of British sculpture through the 20th Century.
The statue represents a youth of superb physique locked in a life and death struggle with
a snake. The model is thought to be Angelo Colorosi, a leading fgure in the Italian colony
of professional male models. The male nude in action was a theme Leighton explored in
his paintings of the early 1870s - such as Daedalus and Icarus and Hercules wrestling with
death. Leighton had little experience with sculpture and the execution of such a powerful
and dynamic design was undertaken in the studio of his protg, Thomas Brock, who
provided signifcant technical expertise. That it was the frst of only three sculptures that
Leighton fully completed makes it all the more impressive.
The original life-size bronze version is now in Tate Britain, on loan to the Victoria & Albert
Museum. In 1887 Carl Jacobsen, owner of the famous Carlsberg brewery in Copenhagen
commissioned a marble version (deaccessioned in 1974 and sold from the Forbes
Collection in these Rooms on 19 February 2003 as lot 28). Bronze reductions such as the
present lot were published in two sizes by the Leicester Galleries, though rarely appear on
the market. Another cast of this size was gifted to Princess Mary by the members of the
Royal Academy of Arts in February 1922 - the month of her marriage to Henry Lascelles,
6th Earl of Harewood (1882-1947) and sold from Harewood House, Christies, London, 5
December 2012, lot 519 (91,250). A larger cast measuring 38 in. (98 cm.) sold in these
Rooms on 11 July 2013 (lot 8, 493,875).

68

44

Frederic, Lord Leighton, P.R.A., R.W.S.


(1830-1896)
Needless Alarms
inscribed Pubd BY S.L. Fane / 49. Glasshouse Street / London W.
June. 1906
bronze, dark brown patina, on ebonised wooden socle
19 in. (48.5 cm.) high, the bronze; 22 in. (56.5 cm.), high, overall

10,000-15,000

44

$16,000-23,000
15,000-21,000

Leightons third and most unusual sculpture, Needless Alarms


was exhibited alongside his second and more widely known work,
The Sluggard, at the Royal Academy in 1886 (no. 1922). In its
depiction of a young girl turning away in fright from a toad at
her feet, the work conforms to a favourite pre-occupation of the
New Sculptors, that of presenting the youthful naked form in
strong contraposto. Unlike The Sluggard and his celebrated work
of 1877, An Athlete wrestling with a Python (see lot 43), both
large-scale sculptures, Needless Alarms falls quite defnitely into
the category of the statuette, and its appeal to a less literary public
as a decorative object for the domestic interior is re-enforced by
the obvious humour with which the fgure has been imbued. This
fact was emphasised by Leonora Lang, critic for the Art Journal,
who wrote in 1886 that Leighton had never done anything more
charming, or that appealed to a larger number.

45

Giovanni Battista Amendola (18481887), after Frederic, Lord Leighton,


P.R.A., R.W.S. (1830-1869)
Wedded
inscribed Modelled by G.B. Amendola / from the picture of / Sir
Frederick [sic] Leighton
bronze, mid-brown patina
14 in. (37 cm.), high

3,000-5,000

$4,600-7,500
4,300-7,000

Amendola studied in Naples and subsequently moved to Rome


and Paris, and in 1878 to England, where he remained until
1886. Through his close relationship with Alma-Tadema, he met
Leighton and swiftly became one of his protgs. By the following
year, Amendola had become a famous artist in his own right, and
was given many commissions after recommendations from his two
friends.

45

He took his subject Wedded from a painting by Leighton of the


same title which had been exhibited at the Royal Academy in 1882
and acquired in the same year by the Art Gallery of New South
Wales, Sydney. It was the Fine Art Society who commissioned
the sculpture from Amendola, and he started working on the
piece in 1885. Wedded was reproduced in silvered bronze,
bronze, and terracotta, and was made in two sizes: the smaller
stands at 14 in. (37 cm.). The sculpture was also produced as
a ceramic, by the Royal Dux Bohemia, a manufacturer of china.
Wedded was admired and commended at the time for Amendolas
ability to portray human emotion in bronze. It was also a great
accomplishment to create a statue which was fnished with so much
detail and attention to design.

46

Sir Thomas Brock, K.C.B.,


R.A. (1847-1922)
Eve
signed T.BROCK.R.A.SCULPR and titled
EVE
bronze, brown patina
34 in. (87 cm.) high

20,000-30,000

$31,000-45,000
29,000-42,000

First exhibited in plaster at the Royal Academy


in 1898, Eve was an immediate success. The
Times considered it to be the fnest statue
Brock had produced. Brocks frst statue of
an undraped female fgure, Eve is the perfect
embodiment of the principles of New Sculpture.
Benedict Read notes that the New Sculptures
concern with the detailed modelling of the
fesh offered an irresistible temptation for a
display of nudity and Jeremy Cooper comments
that Eve succeeds in fashioning that delicious
combination of naturalism and spirituality
found at the core of the New Sculpture. Eve
is not the temptress, but abashed with head
bowed and arm placed protectively across
her chest. Marion Spielmann saw not the
conventional voluptuous rendering of the First
Mother, but one of ourselves in fgure and
nature.
Shortly before he died in 1899, Sir Henry Tate
purchased a lifesize (5 ft. 7 in. high) version in
marble for the newly founded Tate Gallery (then
known as the National Gallery of British Art).
Eve was later shown at the Paris Exhibition in
1900 (where Brock was awarded with a Grand
Prix dHonneur), Glasgow (Kelvingrove) in
1901, Edinburgh (Royal Scottish Academy) in
1903, St. Louis Exhibition in 1904, and Dublin
(Irish International Exhibition) in 1907.
The present lot is a very fne English lost wax
cast and one of a small number of half size
(89 cm. high approximately) reductions cast in
bronze under Brocks supervision. Another is in
the Harris Museum and Art Gallery, Preston.
Brock also had a number of smaller replicas
(probably 40.6 cm. high) made for friends
including Rudyard Kipling, who wrote It is
splendid I am taking it down to my home
where it will be a chief treasure for me and my
children.

71

LITERATURE:

A. Bury, A Biographical and Critical Study of the Life and Works


of Sir Alfred Gilbert, R.A., London, 1954, p. 69 (Fitzwilliam cast).
N. Penny, Catalogue of European Sculpture in the Ashmolean
Museum, 1540 to the present day, Oxford, p. 91 (Fitzwilliam cast).
L. Handley-Read, British Sculpture 1850-1914, London, 1968,
p. 25, fg. 81 (Fitzwilliam cast).
L. Handley-Read, Alfred Gilbert a new assessment: Part 3 the later
statuettes, London, 1968, p. 144-51, fg. 12 (Fitzwilliam cast).
R. Dorment, Victorian High Renaissance, Minneapolis, 1978,
no. 111 (Fitzwilliam cast).
R. Dorment, Alfred Gilbert, New Haven and London, 1985,
pp. 238-9, pls. 145-6 (Fitzwilliam cast).
R. Dorment, and others, Alfred Gilbert: Sculptor and Goldsmith,
exh. cat., Royal Academy, London, 1986, p. 186, no. 101,
illustrated in colour p. 85 (Fitzwilliam cast).
J. Christian, The Last Romantics: The Romantic Tradition in
British Art, London, 1989, p. 143 (Fitzwilliam cast).
Work began on the plaster model of the present composition in
May 1904, after Gilbert had dreamt that he was working on an
equestrian group of St George and the Dragon. The group was
intended as a memorial to the fallen soldiers of the Boer War,
which was commissioned by Edward Grey, 1st Viscount Fallodon.
However, the project did not progress beyond the plaster model
stage, purely because both Gilbert and his brother George had,
rather recklessly, not only failed to take the address of Lord Grey,
but crucially, had omitted to ascertain which Lord Grey they were
dealing with: by the time of realisation that photographs of the
clay model of the group had been wrongly sent to Baron Grey
de Ruthyn in Lancashire, the correct Grey had written to Gilbert
explaining that, owing to the delay, the commission had been
awarded to someone else.
In spite of his disappointment at losing the commission, Gilbert
exhibited the plaster model of the work at the Royal Academy
in 1906. Its whereabouts now unknown, we can see from its
illustration in the Studio in 1910 that the latter, depicting the
static fgure of Victory with wildly extravagant wings, differed
signifcantly from the re-worked model which was fnally cast in
bronze by the Compagnie des Bronzes for the Fine Art Society in
1923. The model we have here is a fne example of Gilberts later
Bruges style, which he himself called by far my best decorative
work. Another example, previously in the collection of Charles
and Lavinia Handley-Read (both died 1971) is in the Fitzwilliam
Museum, Cambridge.

47

Sir Alfred Gilbert, M.V.O., R.A.


(1854-1934)
St George and the Dragon,Victory Leading
The underside with two partially effaced gummed labels .../...
DAVIS J.P/...and I., Lansdowne Rd., W.1... and [GIL]BERT, R.A.
/ ...VICTORY
bronze, dark brown patina, on a black marble base
17 in. (43.8 cm.), high, without the banderole; 23 in. (60 cm.)
high, overall; 11 in. (28 cm.) wide, the base

50,000-70,000
PROVENANCE:

$76,000-110,000
71,000-98,000

Sir Edmund Davis, 13 Landsdowne Road, London (); Christies,


London, 7 July 1939, lot 10 (24 gns to S. Goetze).
Sigismund Goetze.
Anonymous sale; Sothebys, Belgravia, 8 November 1978, lot 83.
Anonymous sale; Sothebys, London, 22 June 1990, lot 197.

72

Sir Edmund Davis (1862-1939), a South African mining magnate


and the frst known owner of this sculpture, was a keen patron
of the arts. His art collection was celebrated for its variety of
paintings and sculptures by artists such as Rembrandt, Hogarth,
Reynolds, Gainsborough, Burne-Jones and Rossetti, alongside
a large collection of sculptures by Rodin. The works flled his
houses in London, at Chillham, Kent, in Venice and in SaintJean-Cap-Ferrat. In 1904 he built Landsdowne House in Notting
Hill to accommodate the artists Charles Shannon and Charles
Ricketts whose work he collected. He bequeathed a large part of
his collection to institutions such as the Muse du Luxembourg in
Paris and to the National Gallery of South Africa in Cape Town.
A large number of works were sold at two sales in these Rooms on
7 July 1939 and 15 May 1942. Highlights of these sales included
Millaiss The Eve of St Agnes, Burne-Joness The Petition to the
King and The Princess Sabra drawing the lot, Rossettis Paolo and
Francesca, and Whistlers At the Piano.
At the 1939 sale of Sir Daviss Collection the bronze was bought
by the artist, Sigismund Goetze (1866-1939), who collected works
by Gilbert with whom hed been friends. Many were presented to
museums and schools, and in 1938 Goetze received a medal for
distinguished services to sculpture from the Royal Society of British
Sculptors. Goetze was a successful artist who was brought up in St
Johns Wood, London. He decorated his home, Grove House near
Regents Park, with scenes from Ovids Metamorphoses and signs
of the zodiac.

73

PROPERTY FROM THE COLLECTION OF LADY JANE WELLESLEY

48

Sir Edward Coley Burne-Jones, Bt.,


A.R.A., R.W.S. (1833-1898)
The Masque of Cupid
with inscription The Masque of/ Cupid. original/ sketch by E/
Burne Jones/ given me by/ him. abt 1892/ E Clifford (right) and
with further inscription by E. Burne Jones. (original sketch) E.C.(?)
(lower right)
Further inscribed on the reverse to be pack[ed] with the frame
for A Williams M.P./ Bridehead/ Dorchester/ to be called for at/
Dorchester station - and with additional inscription , To be given
to/ Lord Gerald Wellesley/ at my death/ E. Clifford (on a label on
the backboard)
pencil and watercolour on paper, laid on board, extended along the
right margin
13 x 16 in. (35.3 x 40.6 cm.)

20,000-30,000
PROVENANCE:

$31,000-45,000
29,000-42,000

The artist, by whom given to


Edward Clifford (1844-1907), and by bequest to
Lord Gerald Wellesley, later 7th Duke of Wellington,
and by descent to the present owner.

74

The subject of the present watercolour is taken from Edmund


Spencers Faerie Queene, book 3, canto 12 (published in 1590).
Burne-Jones frst considered this as early as 1872, naming it in his
work record as one of 4 subjects which above all others I desire
to paint, and count my chief designs for some years to come. He
conceived his depiction as a life-size series of three paintings. The
present watercolour was executed during this period. There are
also three drawings, now in the National Museum Cardiff, as
well as three further drawings in Birmingham Museums & Art
Gallery. The present sheet corresponds to both one of the drawings
in Cardiff, which shows a similar composition but with all the
fgures nude, as well as one of the Birmingham drawings, titled
The Masque of Cupid-Final Portion, Part II, which again shows a
similar arrangement of fgures but draped.
The fgure to the far left of the sheet watching the procession in
the house of Busirane, is Britomart, the fair, who represents
maidenly purity. The fgures to the right are the rude, confused
rout of unhappy personifcations of emotions such as Strife, Anger,
Care, and Infrmity, amongst others, harried by Death, brandishing
a sword.
Burne-Jones soon abandoned the scheme, only returning to it a
year or two before his death. According to the catalogue of the
Burlington Fine Arts Club exhibition, the artist began to work
up the subject on canvas about two-thirds life-size, but again
abandoned it. He also executed at least two watercolours as well;
the present work and a watercolour of the whole scheme (sold at
Sothebys, London, 10 July 1995, lot 93). The latter differs from
the present work, as Death has been replaced by Cupid riding a
lion and Britomart has been omitted.

PROPERTY FROM THE COLLECTION OF LADY JANE WELLESLEY

49

Sir Edward Coley Burne-Jones, Bt.,


A.R.A., R.W.S. (1833-1898)
Love and Dido - a design for metalwork
signed with initials (lower left) and signed and inscribed E. BurneJones/ Love + Dido and with inscription Lot 2 16/7/98/ A design
for metalwork (on a label attached to the backboard)
gold heightened with touches of white on a prepared black paper
8 x 6 in. (21.6 x 17.2 cm.)

10,000-15,000
PROVENANCE:

$16,000-23,000
15,000-21,000

Sir Edward Burne-Jones, Bart. (); Christies, London, 16 July


1892, lot 2 (12.1.6 to Reece).
Anonymous sale; Christies, London, 27 May 1905, lot 45
(5.10.10 to James Tregaskis).

LITERATURE:

The Studio, IX, 1897, pp. 119-120.

This drawing belongs to a group of drawings in tints of gold on


coloured grounds which Burne-Jones refers to in his autograph
work record (Fitzwilliam Museum) under 1896. These designs
were highly experimental and demonstrate the artists desire to
ceaselessly explore the effects of different techniques. There is an
interesting glimpse into the artists working methods, when he
told his studio assistant Thomas Rooke, on smudging one of these
drawings: This gold work must be done very directly - its an art
of itself. I forget how I do it between one time and another, and
its always an experiment. (M. Lago, Burne-Jones Talking: His
Conversations 1895-98, Preserved by his Studio Assistant Thomas
Rooke, 1981, p. 143).
In a letter to his friend Frances Horner, the daughter of his patron
William Graham, he records a Byzantine book that he had seen in
a bookshop, where every sheet had been dipped in a vat of Tyrian
purple dye. There are fve-and-twenty tints of Tyrian purple. When
you dipped the frst time a pale rose colour came and when you
dipped a twenty-ffth time it was the colour of a black poppy
(F. Horner, Time Was, 1933, p. 139).
James Tregaskis (1850-1926) was a founding member, then in
1910 elected President, of the Antiquarian Booksellers Association.

75

50

Dante Gabriel Rossetti (1828-1882)


Study for The Blessed Damozel
pencil and red chalk on paper
9 x 7 in. (24.8 x 19 cm.)

12,000-18,000

$19,000-27,000
17,000-25,000

This is a study for the fgures of two lovers in the upper-right corner
of The Blessed Damozel (Fogg Art Museum, Harvard University,
Surtees, no. 244), an important work of 1875-8 executed for
William Graham, a wealthy India merchant and Liberal M.P. for
Glasgow, who was one of Rossettis most consistent patrons. The
picture was commissioned in 1871 and illustrates the artists wellknown early poem of the same name. The main painting, in which
the Damozel herself is seen leaning from the gold bar of Heaven,
was completed in 1877, and on 31 December that year Graham
asked Rossetti to add a predella showing her earthly lover gazing
up to Heaven.

76

In the upper part of the painting, behind the head of the Damozel,
are eleven pairs of lovers against the sunset, illustrating the third
verse of the poem:
Around her, lovers, newly met,
Mid deathless loves acclaims,
Spoke evermore among themselves
Their heart-remembered names;
And the souls mounting up to God
Went by her like thin fames.
The adoring embraces of the ghostly fgures are in stark contrast to
the wistful longing and loneliness of the Damozel and her earthly
lover in the predella below. The current drawing depicts the pair
to the far right, who gaze into each others eyes with a passionate
intensity. Capturing the depth of their emotion, it provides a
distillation of the atmosphere of the larger work.

51

Sir Edward Coley BurneJones, Bt., A.R.A., R.W.S.


(1833-1898)
The Wizard
black and white chalk, watercolour and
bodycolour, lightly squared in pencil, on buff
paper
36 x 21 in. (92 x 54 cm.)

40,000-60,000

$61,000-90,000
57,000-84,000

PROVENANCE:

Sir Philip Burne-Jones, Bt., 1919.


Lady Lever Art Gallery; Christies, London,
6 June 1958, lot 14.
Anonymous sale; Christies, London, 15 June
1971, lot 139.
with Galleria Documenta, Torino.

EXHIBITED:

London, Japan-British Exhibition,


May - October 1910, no. 83.

LITERATURE:

R.R. Tatlock, A Record of the Collections in


the Lady Lever Art Gallery at Port Sunlight,
Cheshire, formed by the First Viscount
Leverhulme, 1928, no. 3989.

The present drawing is the more fnished of two compositional studies


for an oil at Birmingham Museum and Art Gallery. It was made late in
the artists life: although begun in 1891, his account books list him as
working on the painting in 1896, and it was left unfnished at his death.
It has been suggested that the wizard is the artist as a young man, and the
young girl was modelled by Frances Horner, daughter of Burne-Joness
longstanding patron William Graham. A biographical reading of the
work, in which the artist conjures up visions within the studio to entrance
his young model, is possible.

The Wizard, circa 1891-96 Birmingham


Museums and Art Gallery/The Bridgeman Art
Library

The subject has also been associated with Shakespeares Tempest, as the older
man reveals an image of a shipwreck to the young girl in his convex mirror,
although Burne-Jones made no reference to the fgures being Prospero and
Miranda, but simply referred to it as his Maiden and Necromancer picture
(M. Lago, Burne-Jones Talking: His Conversations, 1895-98, p. 84). What is
certain is that its composition and the use of the convex mirror were inspired
by Jan van Eycks Portrait of Giovanni Arnolfni and His Wife, Fiovanna
Cenami (National Gallery, London), a work which Burne-Jones described
as the fnest picture in the world (ibid, p. 136).

77

52

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.


(1833-1898)
Viridis of Milan
signed with initials and dated 1861 (on a cartouche, lower left) and with inscription
Watercolour./1862 (on the reverse)
pencil, watercolour and bodycolour heightened with gum arabic
on paper
11 x 10 in. (29.8 x 25.4 cm.)
in the artists original frame with a carved inscription VIRIDIS OF MILAN

80,000-120,000

$130,000-180,000
120,000-170,000

PROVENANCE:

George Price Boyce, and by descent to his niece


Joanna Margaret Hadley (ne Wells), and by descent to
Ursula Wightman, and by descent to
Margaret Bell-Scott, and by descent to the present owners.

EXHIBITED:

London, New Gallery, Exhibition of the works of Sir Edward Burne-Jones, 1898-1899,
no. 33.
London, The National Gallery of British Art, London (Tate), Paintings and Drawings of
the 1860 period, 27 April-29 July, 1923, no. 33.

LITERATURE:

New Gallery, Exhibition of the works of Sir Edward Burne-Jones 1898-1899, exh. cat.,
London, no. 33.
M. Bell, Sir Edward Burne-Jones, A record and a review, London, 1901, p. 28.
F. de Lisle, Burne-Jones, London, 1904, pp. 59, 179.
The National Gallery of British Art (Tate), Paintings and Drawings of the 1860 period,
exh. cat., London, 1923, p. 11, no. 33.
J. Christian and R. Dorment, Theseus and Ariadne: A newly discovered Burne-Jones,
Burlington Magazine, 117, September 1975, pp. 591-97.
S. Wildman and J. Christian, Edward Burne-Jones,
Victorian Artist-Dreamer, New York, 1998, p. 115.

78

79

By the end of the 1850s, Burne-Jones and his contemporaries


had moved away from studying the work of the early German
engravers, such as Drer, and had begun to explore the work
of the Italian Renaissance painters, in particular the work of
Venetian artists such as Titian. They spent time studying the work
of Italian painters in British collections, at the National Gallery
and Hampton Court, such as the portrait of Isabelle dEste, then
attributed to Parmigianino, but now ascribed to Guilio Romano.
The deep, rich, glowing colours, ornate patters and sumptuous
interiors, suited the more sensual style that Burne-Jones, Rossetti
and others were adopting at this time.

Fig 1: Titian (Tiziano Vecellio) (c.1488-1576), Portrait


of a Woman, called La Bella Palazzo Pitti, Florence/
The Bridgeman Art Library

In the summer of 1859, Burne-Jones undertook his frst visit to


Italy, spending time in Florence, Pisa, Siena and Venice, and this
frst-hand experience consolidated his developing interest. This
visit was followed by a second in 1862 when Burne-Jones was
accompanied by his wife and his mentor John Ruskin (1819-1900),
going via Milan to Venice where the Burne-Joneses spent three
weeks studying the architecture of the city as well as the work of
the Old Masters, including making careful copies of many of these
for Ruskin.
The majority of Burne-Jones work at this time was on a relatively
small scale, apart from his designs for stained glass and for the
Oxford Union murals and many of them were highly experimental
in technique, the extensive use of bodycolour and gum arabic,
combined with watercolour, a technique which the artist continued
to employ throughout his life, gives the watercolour the appearance
of an oil painting.
The year before the present work, Burne-Jones executed two fulllength watercolours entitled Sidonia von Bork and Clara von Bork
(both Tate, London). Both owe a clear debt to Renaissance painting
and the costume of the former is directly inspired by the portrait
of Isabelle dEste. At about the same time Rossetti painted Lucretia
Borgia (also Tate London). The similarity of subject matter,
composition and themes explored, demonstrates how closely the
two artists were working during this period.

Fig. 2: Bocca Baciata Museum of Fine Arts, Boston,


/ Gift of James Lawrence / The Bridgeman Art Library

80

The present watercolour clearly derives from this interest in


the Italian Renaissance. The pose of the sitter, her costume
and the interior behind her are all reminiscent of the work of
Titian, in particular La Bella (fg. 1, Pitti Palace, Florence).
Indeed Burne-Jones study of La Bella is now in the Fitzwilliam
Museum, Cambridge. The blue of the costume of Titians sitter,
her full sleeves and the gold chain around her neck, must surely
have infuenced the present work, and the cut off nature of the
composition may well have inspired the young artist as well.
Burne-Jones was also infuenced by Rossettis employment of halflength poses for his portraits at this time, such as Bocca Baciata
(fg. 2), painted in 1859.

Fig. 3: our picture in its original frame

This watercolour was conceived as part of a series of harmonies,


paintings of unrelated subjects, linked through an exploration of
colour, which Burne-Jones painted in the early years of the 1860s.
The wood engravers, George and Edward Dalziel recorded that
they commissioned a watercolour from him in the early 1860s at
about the same time he had painted a picture, A Harmony in Blue,
for John Ruskin, and it was suggested that our example should be
entitled A Harmony in Red. After some months labour the result
was a highly elaborate watercolour, The Annunciation. Viridis
of Milan was thus the frst of these harmonies, being conceived
as a Harmony in Blue. He went on to paint The Wine of Circe,
a harmony in yellow, begun in 1863, and Green Summer, a
harmony in green, in 1864. Together, this group of pictures forms
an interesting early example of the concept of colour harmonies,
which were later developed by Moore, Whistler and others, and
which became such a central theme of the Aesthetic Movement.

The basis for this frst harmony is a depiction of Viridis Visconti


(1452-1414), an Italian noblewoman, born in Milan the second
of seventeen children. She and her sisters all secured politically
advantageous marriages; Viridis married Leopold III, Duke of Austria.
It is unclear why the Dalziel brothers thought that this watercolour
was intended for John Ruskin. Certainly the subject, being an
essay in Venetian values as Wildman and Christian suggest
would have appealed to the artist (op. cit., p. 116). It was acquired
by Boyce so whether Ruskin rejected the subject or changed his
mind is unclear.
When the picture was exhibited at the New Gallery in 1898, a label
on the verso states that this picture was owned by Henry Tanworth
Wells, R.A. (1828 - 1903), the portrait painter. However, it seems
that the work was in fact owned by his daughter, who had inherited
it from her uncle the painter George Price Boyce (1826-1897).

81

*53

Dante Gabriel Rossetti (1828-1882)


A Christmas Carol
signed with monogram and dated 1867 (lower left) and inscribed
Mrs Coronio 1a Holland Park (on an old label on the reverse)
red and white chalk on paper
17 x 14 in. (45 x 37.5 cm.)

250,000-350,000

$380,000-530,000
360,000-490,000

PROVENANCE:

Aglaia Coronio, who almost certainly acquired it direct from


Rossetti; possibly () Hamptons, London, 21 November 1906.
Mrs L.R. Valpy by 1911, and by descent until
Anonymous sale; Sothebys, London, 19 June 1990, lot 29.
Anonymous sale; Sothebys, London, 27 November 1991, lot 171.
Anonymous sale; Christies, London, 21 November 2007, lot 120.

EXHIBITED:

London, Burlington Fine Arts Club, Pictures, Drawings, Designs


and Studies by the late Dante Gabriel Rossetti, 1883, no. 147, lent
by Mrs Coronio.
Manchester, City Art Gallery, Loan Exhibitions of Works by Ford
Madox Brown and the Pre-Raphaelites, Autumn 1911, no. 139,
lent by Mrs Valpy.

LITERATURE:

W. Sharp, Dante Gabriel Rossetti: A Record and a Study, London,


1882, p. 161, footnote 1, and Appendix, no. 168.
H.C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial
of his Art and Life, London, 1899, p. 146, illustrated, and p. 248,
under no. 187.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti:
A Catalogue Raisonn, Oxford, 1971, vol. 1, p. 113, no. 195B.

82

83

wears what Marillier (loc. cit.) calls a gold and purple robe of
Eastern stuff, and the cataloguer of the 1883 exhibition identifes
as an Indian dress. Either way, she is well-apparalled, as the
text on the frame has it. If the quotation as a whole satisfed
Rossettis passion for medieval quaintness, this phrase in particular
sanctioned yet another expression of the highly personal form of
Aestheticism he evolved in the 1860s.

Fig. 1. Study for A Christmas Carol, pencil, 1867 The Trustees


of the British Museum, London

This highly fnished drawing is related to a painting of the same


date (1867) and is almost identical in size. The painting was
bought in 1876 by George Rae, a Liverpool banker who was
one of Rossettis staunchest patrons, although in this case the
purchase was made from a dealer rather than from the artist
himself. By 1971, when Virginia Surtees published her catalogue
raisonn, the picture belonged to the late Lord Leverhulme. It was
subsequently sold at Sothebys, London, on 4 December 2013 as
lot 48 (4,562,500).
The paintings frame is inscribed with what seems to be a
stage direction from a medieval mystery play: Here a maid,
well-apparelled, sings a song of Christs birth with the tune of
Bululalow: Jesus Christus hodie Natus est de Virgine. The
choice of such a text smacks of the wilfully quaint medievalism
in which Rossetti had indulged in the late 1850s, and indeed to
some extent the picture harks back to this period. He had actually
painted a watercolour with the same title in 1857-8 (Fogg Museum
of Art, Harvard University), and although the composition, which
includes three full-length fgures, is quite different, the two works
were confused by William Sharp in the monograph that he rushed
out in 1882, the very year of Rossettis death.
Yet the picture of 1867 is also very much of its time, in the sense
that it is a female half-length designed to embody the Aesthetic
ideal. Rossetti had been painting such half-lengths since 1859,
when he had defned the idiom at a stroke in Bocca Baciata
(Museum of Fine Arts, Boston), a likeness of his mistress Fanny
Cornforth conceived essentially for decorative and chromatic effect.
It was axiomatic of this style that the model should be attractive
and her dress and jewellery rich. The singer in A Christmas Carol

84

Maybe the dress was one of the many costumes that Rossetti kept
in his studio to adorn his models, or perhaps, since he does not
seem to use it elsewhere, it was borrowed for the purpose. No such
doubts arise in the case of the heart-shaped medallion on the wall
and the spiral of pearls that the girl wears in her hair, both of which
were almost certainly in Rossettis possession. The medallion had
already appeared in Regina Cordium, a picture of 1866 (Surtees,
op. cit., pl. 280), the only difference being that the amorino it
bears there is changed to a Virgin and Child in A Christmas Carol
to suit a more Christian context. As for the brooch, this was one
of Rossettis favourite studio properties at this period, featuring
not only here but in Fiammetta (1866; Surtees, op. cit., pl. 282),
Joli Coeur (1867; Surtees, op. cit., pl. 286) and Monna Vanna
(1866; Surtees, op. cit., pl. 281). The last, which was also in the
Rae collection, is one of Rossettis most wholehearted essays in
Aesthetic values. As he wrote himself, it was probably the most
effective (work) as a room decoration that I have ever painted.
The model for A Christmas Carol was Ellen Smith, not as
voluptuous as Fanny Cornforth or as regal as Alexa Wilding, who
sat for Monna Vanna, but prized when more homely charms were
needed. She was a laundry girl, and, like so many of the models
who passed through Rossettis studio at this period, of equivocal
virtue. She also sat for Washing Hands (1865), The Beloved
(1865-6), yet another Rae picture, Joli Coeur (1867), and the three
watercolour versions of The Loving Cup (1867), one of which was
sold in these Rooms on 26 November 2003 (lot 17).
There is a pencil study for the painting in the British Museum (fg.
1), and our drawing too is often described as a fnished study,
implying that it was the defnitive rendering of the subject before
Rossetti embarked on the painting itself. However, so close are
they in detail, and so unhesitating is our drawing in its delineation
of the forms, that the possibility should be considered that it is not
a preliminary study but an independent chalk version made after
the painting was fnished. Rossetti, of course, often made such
drawings for commercial purposes, and there is no reason why he
should not have done so here. Another possibility, however, turns
out to have no substance. A Christmas Carol is almost unique in
Rossettis oeuvre in being the subject of a reproductive etching,
but the drawing cannot have been made for the etchers guidance.
Eugne Gaujean (1850-1900), the print-maker in question, was
only seventeen in 1867, and the print was not published (by Robert
Dunthorne) until 1891, nine years after Rossettis death.
The drawings frst owner was Aglaia Coronio (1834-1906); a label
on the back, perhaps in her own hand, is inscribed with her name
and address, 1A Holland Park in Kensington. Aglaia belonged to
the Ionides family, a wealthy and cultured Anglo-Greek clan that
plays a prominent part in the annals of Victorian art. She was the

second child and eldest daughter of Alexander Ionides, the head of


a merchant house who had settled in Tulse Hill and was famous
for his hospitality in artistic, literary and diplomatic circles. Her
elder brother, Constantine, formed the well-known collection
of paintings now in the Victoria and Albert Museum, while her
younger brothers, Luke and Alecco, had belonged as young men to
the so-called Paris Gang, later immortalised by George du Maurier
in Trilby. Aglaia herself was on close terms with many artists,
particularly William Morris, to whom she was a confdante. She
was painted by G.F. Watts and Alphonse Legros, while Rossetti
made a chalk drawing of her in 1870 (Ionides Bequest, Victoria
and Albert Museum).
Our drawing was almost certainly a gift rather than a purchase. It
could conceivably have been a house-warming present since Aglaia
moved to 1A Holland Park (next door to 1 Holland Park, where
her brother Alecco created one of the great Aesthetic interiors of
the day) in 1869, only two years after the drawing was executed.
Or perhaps it was given in return for services rendered. Aglaia was
adept at fnding the draperies that played so crucial a role in PreRaphaelite paintings. Her perfect taste, wrote Lady Burne-Jones
in her biography of her husband, helped (Edward) a hundred times
by fnding fabrics and arranging dresses for models. She performed
similar duties for Rossetti, and we could well imagine him giving
her the drawing by way of thanks, especially if the Indian dress
worn by the model was something she had supplied.
Aglaia lent the drawing to Rossettis memorial exhibition at the
Burlington Fine Arts Club in 1883, and presumably kept it until her
death in 1906. Another Rossetti drawing she owned (Surtees, op.
cit., no. 213A) appeared at Hamptons, a minor London auction
house, on 21 November that year, and A Christmas Carol may
have done so too. Research has yet to clarify this detail. Aglaias
death was violent and self-inficted. She felt deeply the passing of
her artist friends, Rossetti in 1882, Morris in 1896, Watts in 1904,
as well as of her elder brother, Constantine, in 1901; and when her
beloved daughter Calliope (also the subject of a portrait drawing
by Rossetti) died on 19 August 1906, it was more than she could
bear. The following day, like some heroine in a Greek tragedy, she
took her own life by stabbing herself with scissors.
When the drawing was next exhibited, at Manchester in 1911,
it belonged to Mrs Valpy, presumably the widow of Leonard R.
Valpy whose posthumous sale had taken place at Christies in May
1888. A London solicitor before his retirement to Bath in 1878,
Valpy had mainly collected English watercolours; his greatest
achievement had been to put together a magnifcent group of
works by Samuel Palmer, including all the artists late illustrations
to Milton. But he also had a passion for Rossetti, and, despite
temperamental differences that they found mutually irritating,
became one of his chief patrons from the late 1860s onwards.
The drawing was missing when Mrs Surtees published her
catalogue raisonn in 1971, and since no measurements are given
for the one shown at Manchester in the exhibition catalogue, she
was understandably cautious in assuming that they were one and
the same (Possibly Mrs Valpy, etc.). However, any doubts were
allayed when the drawing re-surfaced and was sold in 1990. The

Fig. 2. Our picture in its frame

vendor was identifed as a descendant of Mrs Valpy, and the


drawing itself still has a label on the backboard stating that she lent
it to the Manchester exhibition in 1911. The only anomaly is that
the subject is described as Portrait of a Lady, presumably through
ignorance on the part of some museum offcial.
The likelihood that the drawing did not enter the Valpy collection
until 1906 prompts speculation. Valpy himself had always
maintained a somewhat fuid relationship with Rossetti, returning
things to him from time to time, swapping them for others, and so
on. Nor did he cease to acquire Rossettis on the artists death in
1882. At least two items included in Rossettis studio sale (Surtees,
op. cit., nos. 224.R.I.A and 260A) entered the collection later,
presumably having been bought from the dealers who secured them
at Christies.
As for Mrs Valpy, she did not by any means sell all her husbands
Rossettis in 1888. There were only seven examples in the sale,
whereas no fewer than nineteen works in Mrs Surtees catalogue
either have or seem to have a Valpy provenance. This being so,
it should probably not surprise us if Mrs Valpy was adding to
the collection long after her husbands death. It is true that A
Christmas Carol is a typical Valpy Rossetti in that the solicitor
had always had a fondness for versions, whether in oil or chalk,
of the artists better-known compositions. One, a chalk version of
Sibylla Palmifera, largely by Rossettis assistant H.T. Dunn, was
sold in these Rooms as recently as 16 November 2006 (lot 218).
Nonetheless, the history of our drawing does seem to shed new
light on the Valpy collection, and to suggest that Mrs Valpy may
have played a more prominent role in its creation than has hitherto
been recognised.

85

*55

John William Godward, R.B.A.


(1861-1922)
Clymene
signed, inscribed and dated To E.P. SCOONES/FROM HIS
FRIEND/J.W. GODWARD/92 (lower right)
oil on canvas
9 x 6 in. (24.8 x 17.2 cm.)

30,000-50,000

$46,000-75,000
43,000-70,000

PROVENANCE:

Given by the artist to E.P. Scoones, and thence to his sister


Kathleen Scoones, until circa 1956, by whom given to
Private Collection.
Anonymous sale; Phillips, London, 3 June 1997, lot 76.
with Richard Green, London.
Private collection, 1997.

EXHIBITED:

London, Richard Green, Vistas of the Nineteenth Century,


November 1997, no. 9.

LITERATURE:

V. Swanson, John William Godward: The Eclipse of Classicism,


Woodbridge, 1997, no. 1, p. 180, illustrated.
Clymene appears in several classical sources. In Greek mythology,
she was the daughter of Oceanus and the mother of Atlas and
Prometheus. Another Greek legend names her as a relative of
Menalaus and a companion of his faithless, yet beautiful, wife
Helen. In this story both Helen and Clymene were carried off by
Paris to Troy, causing the Trojan War.

54

Henry Ryland (1856-1924)


A Procession
signed H.RYLAND (lower left)
pencil and watercolour on paper
28 x 20 in. (71.1 x 51.4 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

The present work is a smaller, more successful version of


Godwards Royal Academy exhibit of 1891, one of his frst oil
paintings to be admired and remarked upon by the press. In this
delicate study of contrasting tones and textures, the artist has
removed superfuous details such as the bas-relief of a Dionysian
procession and the mosaic foor from the RA work, concentrating
on the radiant splendour of the female fgure. Leaning against a
high, marble veranda holding a peacock fan (the frst of Godwards
paintings to include one), the classical heroine stands challenging
the beauty of Helen of Troy. Her direct gaze engages the viewer,
and by holding the fan against her lovely head, Godward offers
a tactile comparison between the softness of the feathers and her
warm, golden hair, both rendered with the fnest of brushstrokes.
Touches of green from the peacock fan are picked up in the borders
of her beautifully draped, golden dress, which echoes the sunlit
highlights of her curls. The bright, gold garment evokes the light
and warmth of the Mediterranean sun in contrast to the setting
of cool marble and pale blue sky. It is likely that the model for
Clymene was Lily Pettigrew, one of the famous sisters Pettigrew
(Harriet, Lillian and Rose), known as the leading artists models
of the day. During their careers, the distinctive Pre-Raphaelite
beauties posed for the most important artists of the age, including
Millais, Whistler, Sargent and Poynter.
Scoones, to whom this picture is dedicated, worked in Westminster,
as an insurance clerk and auditor, which was the same profession
as Godwards father and brothers.

86

87

56

John William Godward, R.B.A. (1861-1922)


A Garland Seller
signed and dated J.W. GODWARD.1914. (centre right) and further signed, inscribed and
dated A GARLAND SELLER./J.W. GODWARD./ROME/1914/. (on the reverse)
oil on canvas
30 x 30 in. (77.5 x 77.5 cm.), feigned circle

250,000-350,000

$380,000-530,000
360,000-490,000

PROVENANCE:

with Richard Haworth, Blackburn, where purchased by the present owners grandfather.
This new discovery was painted in Rome while Godward was living at the Villa Strohl-Fern,
one of a group of artists studios to which the artist had absconded in 1911 to live with his
model, scandalising his family. The model, possibly the Dolcissima that Russell Flint met
when he visited Godward, featured in many of Godwards other works of that date. This
painting exemplifes Godwards strengths in painting; in the carefully rendered marble,
contrasting with her skin tones, drapery and fowers. Twenty-fve tondo oils by Godward
are known and several more watercolours. While this number is not great compared to his
total output, circular pictures best defne the artists consummate compositional abilities.
To be included in the forthcoming updated catalogue raisonn by Professor Vern G.
Swanson.

88

89

58

Kate Perugini (1839-1929)


Mollys Ball Dress
signed with monogram (lower left)
oil on canvas
46 x 25 in. (118.8 x 65.4 cm.)

30,000-50,000

$46,000-75,000
43,000-70,000

EXHIBITED:

London, Royal Academy, 1885, no. 366.


Chicago, Worlds Columbian Exposition, Womans
Building, 1893.

LITERATURE:

Academy Notes, 1885, illustrated p. 48.

57

Frederic, Lord Leighton, P.R.A., R.W.S.


(1830-1896)
Portrait of of a lady, bust-length, in a turquoise dress
and black coat and hat
with inscription DERNIERE OEUVRE DE/ F.B. LEIGHTON (in
plaques on the frame)
oil on canvas
10 x 7 in. (25.3 x 18.3 cm.)

15,000-25,000

$23,000-38,000
22,000-35,000

PROVENANCE:

Anonymous sale; Christies, London, 14 June 1991, lot 294.

EXHIBITED:

London, Leighton House, on loan, 1991-2015.


This is a late work by Leighton, but despite the inscription on the
frame, arguably not his last. The sitter remains unidentifed, although
some have detected a likeness to Dorothy Dene.
We are grateful to Richard Ormond, Daniel Robbins and Veronica
Franklin Gould for their help in preparing this catalogue entry.

90

Perugini was the daughter of the novelist Charles Dickens


(1812-70). She frst married Charles Alston Collins
(1828-73), the Pre-Raphaelite painter whose best known
work, Convent Thoughts, is in the Ashmolean Museum,
Oxford. After his death she married the artist Carlo
Edward Perugini (1839-1918). As the daughter of the
most famous writer of his age, she enjoyed celebrity and
a high profle in society. She moved in artistic circles
which allowed her to explore her own painting and to
meet many of the most inspirational men and women
of London, Paris and Italy. Millais encouraged Kates
ambitions and she became a successful portrait painter,
particularly insightful when painting children. In 1859
Millais immortalised Kate as a woman parting with her
lover on the eve of Waterloo, in The Black Brunswicker
(Lady Lever Art Gallery, Port Sunlight).
Molly, the subject of this picture, was the daughter of
Sir John Hare (1844-1921), actor and Manager of the
Garrick Theatre, London. Perugini also painted Hares
other daughter Effe (exhibited at the Royal Academy,
1883, no. 80). Our painting clearly shows the infuence
of Millaiss child portraits that were achieving enormous
success at the time, such as For the Squire (1882, private
collection) and Little Miss Muffet (dated 1884, sold in
these Rooms, 23 November 2005, lot 11). Perugini also
echoes Regency portraiture in her use of a restrained silk
dress, long organza gloves and monogrammed bag.
We are grateful to Lucinda Hawksley, great-greatgreat-granddaughter of Charles Dickens, for her help in
preparing this catalogue entry.

91

PROPERTY FROM THE FAMILY OF THE ARTIST

59

William Holman Hunt, O.M., R.W.S.


(1827-1910)
The Birthday
signed and inscribed Portrait of Marion [written above the line]
Edith Gertrude [crossed out] Waugh/painted by W Holman Hunt
and/given to her as a memento of her/twenty frst birthday/W
Holman Hunt (on a label on the reverse) and with inscription
The property of Hilary L. Holman-Hunt Given by his Mother
M E Holman-Hunt on his marriage [these three words added by
a different hand] Portrait of M E Holman-Hunt aged 21 years by
William Holman-Hunt (by Edith Holman-Hunt, on the backboard)
oil on canvas
40 x 28 in. (102.9 x 72.7 cm.)

600,000-800,000

$910,000-1,200,000
850,000-1,100,000

PROVENANCE:

Given by the artist to the sitter, by whom given to her son


Hilary Lushington Holman-Hunt, and thence by descent in the
family to the present owner.

EXHIBITED:

London, Royal Academy, 1869, no. 106.


London, Leicester Galleries, Exhibition of the Collected Works of
W. Holman Hunt, OM, DCL, 1906, no. 16.
Manchester, City Art Gallery, The Collected Works of W. Holman
Hunt, OM, DCL, 1906-7, no. 27.
Liverpool, Walker Art Gallery, Collective Exhibition of the Art of
W. Holman Hunt, OM, DCL,, 1907, no. 34.
Glasgow, Art Gallery and Museum, Pictures and Drawings by
William Holman Hunt, OM, DCL, 1907, no. 20.
London, M. Knoedler & Company, Beautiful Women of the 19th
Century: Loan Exhibition in Aid of the War Service Legion, 1933,
no. 25.
Liverpool, Walker Art Gallery; London, Victoria and Albert
Museum, William Holman Hunt, 1969, no. 43.
London, Wartski, Artists Jewellery: Pre-Raphaelite to Arts and
Crafts, 1989, no. 132.
Manchester, City Art Gallery; Toronto, Art Gallery of Ontario;
Minneapolis Institute of Arts, William Holman Hunt and the PreRaphaelite Vision, October 2008 - September 2009, unnumbered
in catalogue.
Cambridge, Fitzwilliam Museum, on loan (2009-2015).

92

LITERATURE:

[G.A. Sala], Daily Telegraph, 1 May 1869, p. 5, and 8 May 1869,


p. 5.
[T. Taylor], The Times, 10 May 1869, p. 12.
[F. G. Stephens], Athenaeum, no. 2170, 29 May 1869, p. 739.
Art Journal, 1 June 1869, p. 167.
Autograph letter from Hunt to F. G. Stephens, 22 June 1869,
Bodleian Library, Oxford, MS. Don.e. 67, fols. 30v-31.
Saturday Review, XXVII, 5 June 1869, p. 745.
Illustrated London News, LV, 3 July 1869, p. 1.
R. St John Tyrwhitt, Contemporary Review, XI, July 1869, p. 363.
Illustrated London News, LV, 3 July 1869, p. 18.
Autograph letter from F.G. Stephens to Hunt, 31 July 1869,
University of British Columbia, Special Collections Division,
Stephens Papers, fols. l-lv.
[J. B. Atkinson], Blackwoods Edinburgh Magazine, CVI, August
1869, p. 225.
Annual Register, 1869, p. 258.
W. M. Rossetti, Rossetti Papers 1862-1870, London, 1903,
pp. 304-5.
W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite
Brotherhood, 2nd. ed, London, 1913, II, p. 209, illustrated.
D. Holman-Hunt, My Grandmothers and I, London, 1960, p. 100,
illustrated.
D. Holman-Hunt, My Grandfather, His Wives and Loves, London,
1969, p. 261.
George P. Landow, William Holman Hunt and Typological
Symbolism, London, 1979, p. 163.
A. Rose, Pre-Raphaelite Portraits, 1981, p. 61, illustrated.
G. C. Munn, Castellani and Giuliano, 1984, p. 19, note 5.
L. Roberts, Victorian Picture Frames 1850-1890, University of
London, Courtauld Institute, M. Phil. dissertation, 1984, p. 71.
C. Gere and G. C. Munn, Artists Jewellery: Pre-Raphaelite to Arts
and Crafts, London, 1989, p. 65, pl. 23.
The Times, 2 March 1989, p. 14.
M. Cole, A Haunting Portrait by William Holman Hunt, Bulletin
of The Cleveland Museum of Art, vol. 77, no. 10, December 1990,
p. 359, fg. 5.
J. Bronkhurst, William Holman Hunt: A Catalogue Raisonn,
vol. 1, New Haven and London, 2006, pp. 215-7, no. 111; vol. 2,
p. 337, illustrated in its frame.
K. Lochnan and C. Jacobi (eds), Holman Hunt and the
Pre-Raphaelite Vision, exh. cat., Ontario, 2008, pp. 77, 84, 91,
93-94, pl. 23.

93

Fig. 1: Mrs George Waugh, 1868 Cleveland Museum of Art


Fig. 2: Portrait of Fanny Holman Hunt, 1867-68 Toledo Museum of Art/
Bridgeman Images

Today, William Holman Hunt is most famous for his early


work, when he was one of the three principal founders of the
Pre-Raphaelite Brotherhood (P.R.B.), but at the time of his death
in 1910 his fame derived from his religious paintings. Less well
known is the fact that he was a highly accomplished portraitist:
Hunt was making oil likenesses of family and friends from the age
of sixteen. He continued to paint portraits throughout his working
life, but was too aesthetically ambitious to develop a career in this
feld; he did not seek out portrait commissions and only undertook
them when he had a close relationship with the sitter. Hunt based
his reputation on his subject pictures and religious works; this
very fact gave him the freedom to execute portraits that are often
innovative and experimental.
Hunt tended to work on portraits in series. The frst comprises the
drawn portraits dating from 1852-54, when the tight-knit nature
of the Brotherhood was unravelling. Absence, whether actual
or forthcoming, was the spur: Thomas Woolner, P.R.B. was in
Australia, and Hunt himself was determined, from late 1851, to
go to the East.
The frst oil portraits to form a sequence date from 1867-68, and
are inspired by much more traumatic events. They include our
picture, a portrait of Hunts sister-in-law Edith Waugh (1846-1931)
holding presents she was given on her twenty-frst birthday. It was
begun in the aftermath of her eldest sister Fannys death. Hunt
had returned from the Holy Land in 1856 and was introduced to
Fanny by Woolner, who at the time was courting her (he went on
to make a third sister, Alice, his wife). Hunt and Fanny married at
the end of 1865, but this did not deter the artist from attempting
to gratify what he called his oriental mania. In August 1866, the
couple embarked at Marseilles for Livorno, with the intention of
travelling on to Jerusalem. It was not to be: an outbreak of cholera
meant that they had to settle in Florence, where, in late October,

94

Fanny gave birth to a son, Cyril. Tragically, she contracted miliary


fever a particularly virulent form of tuberculosis and died on 20
December 1866, after less than a year of marriage.
The widower and baby returned to London in September 1867,
having broken their journey in Paris, where Hunt took the
opportunity to visit not only the Exposition Universelle but also
the memorial show devoted to Jean-Auguste-Dominique Ingres.
Indeed, the infuence of the great French master can be seen in the
portrait of Fanny (fg. 2), conceived shortly afterwards, and also
in our picture, the portrait of Edith. The latter can be compared
with a work such as Ingress Madame Moitessier Standing (1851,
National Gallery, Washington): both sitters are similarly festooned
with jewels and hold a fan, while each is dressed in mourning and
looks very serious.
On frst viewing, the portrait of Fanny might be regarded as
quintessentially Pre-Raphaelite in its naturalistic appearance,
but the absence of any refection of the fgure in the overmantel
mirror indicates that it was executed posthumously, with Hunt
using a carte-de-visite photograph as an aide-mmoire. The setting
is almost certainly 15 Queensborough Terrace, a seven-storey
Victorian villa in Bayswater, the London home of George and
Mary Waugh, Fannys parents. Hunt had no London base at
this period, and his parents-in-law and Fannys youngest sister
(Marion) Edith were looking after his infant son. Fannys was the
frst of the set of four portraits to be hung in the lofty drawing
room of the Waugh residence and, soon after it was started, Hunt
began working on a magisterial self-portrait (fg. 3). The impetus,
he told his friend John Lucas Tupper, was so that poor little Cyril
. . . should have both father and mother to look at when another
generation has found all of our places empty.
Fannys portrait was far too personal to be exhibited at the Royal

Fig. 3: Self-portrait, 1867-68, 1875, Galleria degli Uffzi, Florence 2015, Scala,
Florence, courtesy of the Ministero Beni e Att. Culturali

Academy, and Hunt had to set aside his own portrait when his
major subject picture Isabella and the Pot of Basil (Laing Art
Gallery, Newcastle-on-Tyne) arrived back from Italy unfnished.
He did, however, fnd the time to produce two more portraits of
the Waugh family, and in 1869 both were exhibited at the Royal
Academy, in its frst show at Burlington House. These paintings
are of his mother-in-law Mary Waugh (fg. 1) and her youngest
daughter Edith, our picture. They are closer in technique to the
self-portrait, and very different from that of Fanny, indicating that
the late 1860s was a period of transition in the evolution of Hunts
style. Indeed, in the self-portrait Hunt deliberately includes some
extraordinarily long brushes in the foreground to indicate that he
is aiming for greater fuidity. His account with the colour merchant
Roberson shows that in October 1867 he purchased some Sables
& Fine Hog Tools with bamboo handles measuring 27 inches
long; Hunts friend and erstwhile P.R.B. William Michael Rossetti
recorded in his diary entry of 11 February 1868 that Hunt was
working on these two portraits with brushes of great length, so
that he stands a good way off the canvas, and fnds that he can thus
give features better as a general whole. In The Birthday, which
was nearly completed by 11 April 1868, the curtain and wooden
panelling in the background certainly look as though Hunt was
persevering with the new technique.
This loosening of handling was infuenced by the time he had
spent in Italy studying the Old Masters. The impact on Hunt of
High Renaissance painting was immediate, and on 9 October
1866 he had written to the art critic and former P.R.B. F.G.
Stephens: The lesson that most forces itself upon one altogether
is that we in England are too careful about prosaic and scientifc
proprieties in our art. This certainly sounds like a recantation
of Hunts painstaking dedication to detailed naturalism, which
method perhaps requires the stamina of youth - whereas Hunt

Fig 4.: Our picture in its frame

was on the brink of middle age. Moreover, he was keenly aware


that discerning patrons were attracted to Aesthetic Movement and
neoclassical trends in avant-garde British art and were therefore
less likely to buy highly detailed hard-edged Pre-Raphaelite oil
paintings. As an acquaintance in Florence noted, They tell me he
is going to change his style and give up Preraphaelitism and in fact
he talks to me more of Titian than of the Beato [Fra Angelico].
The portrait of Mrs Waugh dates from February to April 1868 and,
like the portrait of Fanny, is based on a carte-de-visite. However,
Hunt has made his mother-in-law look more thoughtful, refecting
the atmosphere of grief at 15 Queensborough Terrace. When it came
to painting Edith, there is no evidence that he used a photograph,
which may be why the original result was so unsparing (fg. 6). The
critics at the Royal Academy exhibition were taken aback by the
honesty of both portrayals, and spitefully criticised the appearance
of the sitters. They may have had less compunction in doing so with
The Birthday because its title suggests a subject picture rather than
a portrait. At a later date, perhaps because of the adverse criticism,
Hunt was persuaded to alter the picture by lowering the angle of
Ediths shoulders. This has the effect of making her look more
attractive, with a swan-like neck.
Portrayals of women with long necks were characteristic of the
Aesthetic Movement, while Ediths peacock cape edged with white
swansdown is a typically Aesthetic garment that scintillates all
the more for being juxtaposed with a matt black mourning dress.
The green of its feathers, which are spectacularly well painted,
might seem to symbolise hope, but Hunt would have known that
peacocks were considered emblems of vanity. This interpretation
fts with the unusual placement of the sitters hands, as though
she is weighing up her presents and refecting on the vanity of
earthly wishes. In her right hand Edith holds an expensive midnineteenth century Canton telescopic fan with ivory guard sticks

95

Fig. 5: A carte-de-visite photograph of Edith Holman


Hunt after her marriage by Elliott & Fry, London Watts
Gallery, Compton

and a vermilion tassel, manufactured for the Chinese export


market, and a string of amber beads, all the more valuable for
including a trapped fy. The highly respected frm of Castellani
almost certainly supplied the bracelet held in her left hand; it is set
with micro mosaic in the Archaeological style. The way in which
the beautifully painted hands loom out at the spectator, together
with the alteration in focus between the detailed treatment of the
curtain in the right background and the more fuzzy areas of curtain
towards the left, may be infuenced by contemporary photography.
Its effect is to direct the spectators gaze to the hands and what
they are holding before taking in the other accessories, such as the
fashionable and imposing coral necklace. The touches of red in the
picture tassel, beads, headdress and roses unify the composition
in a pleasingly aesthetic way, and the same can be said for the green
tones reds complementary colour which play the cape against
the background curtain.
This peacock cape is not the only accessory to have symbolic
connotations. For example, coral was thought to ward off the
evil eye, because it is emblematic of Christs blood and sacrifce;
for Edith it may have been all the more prized now that her sister
Fanny was dead. It is also possible that the red of the headdress had
some hidden meaning. Is it fanciful to fnd it reminiscent of the red
fllet between the horns of The Scapegoat (Lady Lever Art Gallery,
Port Sunlight) and the red head rope or agal on the foor of Christs
workshop in the Shadow of Death (Manchester Art Gallery)? In
both of these religious paintings, the red of the headdress is an
emblem of Christs martyrdom.
Hunt may well have regarded Edith in the light of a sacrifcial
victim, since according to family tradition while painting his
much younger sister-in-law, he became aware that she had been
in love with him for some years. Executing her likeness was a very
good way of getting to know her better, and, in the picture, the
red roses in Ediths left hand, symbolising beauty, suggest that the
artist was not unresponsive. The inscription on the frame, from
Romeo and Juliet, was, however, added later:

Fig. 6: The Birthday from William Holman Hunt, PreRaphaelitism and the Pre-Raphaelite Brotherhood, London,
1913, p. 209.

My True Love is grown to such excess


I cannot sum up half my Sum of Wealth.
This is not just a straightforward declaration of love between sitter
and artist. The quotation is adapted from Juliets words to Romeo
in the presence of Friar Lawrence, who has agreed to marry them
(Act II, scene vi). In the Shakespeare play, they poignantly embody
passion in the face of impending tragedy, a scenario that must at
the time have seemed to Holman Hunt and Edith Waugh all too
possible, given that English canon law proscribed marriage with
a deceased wifes sister. Diana Holman-Hunt, in her book My
Grandfather, His Wives and Loves (1869), points out that the fy
in one of the amber beads represents the fy in the ointment, the
Table of Affnity in the Book of Common Prayer. It states that
whosoever are related are forbidden by the Church of England to
marry together, and since 1835 this included marriage between a
widower and his sister-in-law even though there was no blood tie.
The bar to the emerging love between artist and sitter, the deceased
wife, is included in the picture in the form of the brooch threaded
through the black ribbon round Ediths neck. Hunt had given this
to Fanny as an emblem of their mutual devotion, and it contrasts
markedly with the more valuable jewellery Edith is wearing in The
Birthday. Like Ediths micro mosaic bracelet, the brooch is in the
Archaeological style, but is most likely English, and dates from
about 1860; the gold mount is set with a shell cameo of an amorino
or cupid. (The brooch, sold by Hunts descendants in 2013, is now
in a private collection.) In 1865 Hunt had had the back inscribed
with Fannys name and, although F.G. Stephens relates that she
had no great taste for jewellery, she is shown wearing it attached
to a black ribbon round her neck in both the carte-de-visite taken
shortly before her marriage and in her posthumous portrait, where
it is depicted in great detail. After Fannys death Hunt gave Edith
the cameo, which he had had converted into a memorial jewel,
with the addition of the words HOLMAN TO EDITH I. M. 20
DEC. 1866 on the reverse of the gold mount. This was the date
of Fannys death.
Although Hunt would have been aware that responding to

Fig. 7: Photograph showing The Birthday after some retouching of


the head by E.R. Hughes private collection

Fig. 8: Our picture unframed

Ediths feelings would adversely affect his career, and despite the
disapproval of both families and some friends, the relationship
deepened, and in November 1875 the couple were married in
Switzerland (fg. 5). Although they were to encounter a fair amount
of social ostracism, it was a mutually supportive partnership.
Edith, under the tutelage of her husband, became a competent
watercolourist. Touchingly, her copy of Hunts Il Ponte Vecchio
(sold recently at Christies South Kensington and now in a private
collection) was made for their son Hilary in 1922, when she was
74 years old. Some years earlier, she had given Hilary The Birthday
on the occasion of his marriage. This was before Hunts death,
suggesting that Edith had persuaded Edward Robert Hughes,
Hunts studio assistant on the St Pauls Light of the World and
The Lady of Shalott (Wadsworth Atheneum), to make some subtle
alterations to the head while Hunt was still alive. A photograph
reproduced in the second (1913) edition of Hunts memoirs seems
to refect the head before any retouching by Hughes (fg. 6). The
lips are thin and turned down, and the overall effect is certainly
mournful, a word the critics had used about The Birthday on its
exhibition in 1869. Another photograph, recently rediscovered,
is mounted on card in a portfolio of hand-coloured photographs
Edith made for Hilary of her husbands art collection (fg. 7). It
shows an intermediate stage: Hughes has done some work to the
corners of the mouth to suggest thoughtfulness rather than strain,
and the chin has been reduced in size though it is still more
pronounced than in the painting as it appears today. Perhaps Edith,
towards the end of Hunts life, wanted Hughes to alter her portrait
because she felt that she and Hunt had won through against the
odds, and she did not want to be reminded of the grim times they
experienced before their marriage, while the union was proscribed
under English law (the Act legalising marriage with a deceased
wifes sister was not passed until 1907). Hughess intervention
certainly has the effect of making the face look more attractive,
even though it somewhat dilutes the strong character of the sitter.

their handsome and monumental frames, which Hunt designed. He


regarded picture and frame as a total work of art, and the frames he
had made were the most inventive and innovative of any Victorian
artist. Here the results are beautifully restrained: each of the four
frames is subtly different, which is typical of the artist, who disliked
repeating himself. The burnished gilt must at frst have looked at
its best by candlelight in the Waughs drawing room. However, as
the artist pointed out in a letter of June 1869 to F.G. Stephens, in
the course of a few years burnished gilding becomes of the most
luscious colour, infnitely better than the best matt gold at any
time. Hunt draws attention to the way the frames are constructed
by decorating the straight butt joints on the frieze with diagonal
lines that suggest stitching, thereby satisfyingly combining form
and function. Straight butt joints, as opposed to angled mitres, are
characteristic of frames designed by D.G. Rossetti, as are the round
cassettes inset in the corners of the frieze. Both Rossetti and Hunt
were aiming at heightening our aesthetic response, and certainly
the ivory paterae set diagonally in the corners of Hunts portraits
enhance the overall effect.

The portraits of Fanny and Edith are identical in size to Hunts


self-portrait; the likeness of Mrs Waugh is somewhat smaller. But
all four were certainly regarded as a quartet, and are unifed by

We are grateful to Judith Bronkhurst for preparing this catalogue


entry. She would like to thank Colin Ford, Charlotte Gere and
Susan Mayor for their assistance in its preparation.
97

At the end of 1872, the Waughs quarrelled irrevocably with their


youngest daughter for refusing to sublimate her love for Hunt. Until
then, the likenesses of Fanny and Edith would surely have been
hung relatively high in the drawing room of 15 Queensborough
Terrace, their tops angled away from the wall: displayed in this
way both heads are in perfect proportion which suggests that
Hunt conceived them with this setting in mind. The self-portrait,
even though it was then unfnished, would presumably have hung
between them.
Hunts oeuvre in oils includes about ffty recorded portraits; only
a handful of them can be classed in the same league as his subject
pictures and virtually all of these are now in public collections. The
Birthday is certainly one of Hunts most accomplished works and
is all the more fascinating for the story it has to tell.

THE PROPERTY OF A LADY

60

Sir John Everett Millais, P.R.A., R.W.S. (1829-1896)


Pensive
signed with monogram and dated 1893 (lower right)
oil on canvas
37 x 29 in. (96 x 75.5 cm.)

600,000-800,000

$910,000-1,200,000
850,000-1,100,000

PROVENANCE:

Purchased by Colonel J. W. Cameron, with its pendant, Merry, August 1895 (1,400 gns),
and by descent to the present owner.

EXHIBITED:

London, Royal Academy, 1893, no. 204.

LITERATURE:

Times, 29 April 1893, p. 13.


Athenaeum, no. 3418, 29 April 1893, p. 543.
Art Journal, 1893, p. 190.
M.H. Spielmann, Millais and his Work, London, 1898, p. 178, no. 326.
J.G. Millais, Life and Letters, vol. II, London, 1899, pp. 455, 485.
A.L. Baldry, Sir John Everett Millais Bart., P.R.A. His Art and Infuence, London, 1899,
pp. 60, 117.
Art Journal, 1900, p. 31.

98

99

Fig 1: Sir John Everett Millais, P.R.A. (1829-96), Bubbles Elida Gibbs Collection,
London, UK / Bridgeman Images

When Millais painted Pensive in 1893 he was the most lauded


artist in Britain, its most sought-after portraitist, and a painter
who continued to challenge himself in producing large-scale and
increasingly epic landscapes annually, outdoors in Scotland. He
exhibited the present work at the Royal Academy that spring
with a slightly smaller pendant, Merry, alongside a portrait of his
old friend, the comedian John Hare (The Garrick Club), and the
subject picture, The Girlhood of Saint Theresa (private collection).
That same year Millais would show Bubbles (fg. 1, on loan to
Lady Lever Art Gallery) and six other important pictures at the
Worlds Columbian Exposition in Chicago. This was the worlds
most important art fair of the year and the largest display of his
work in the United States in his lifetime. He received high praise
in the American press, and would earn a medal for specifc merit.
In addition, with the death of his early patron, Thomas Combe
of Oxford (1796-1872), a number of Millaiss Pre-Raphaelite-era
pictures went on public view as part of the Combe bequest to the
Ashmolean, including The Return of the Dove to the Ark, 1851.
It is possible that Pensive found Millais in a retrospective
mood, looking back at trends that he had done much to initiate
and promote in British Art. It is a picture that combines an
acknowledgement of the Georgian portraiture of the age of
Reynolds, the Victorian predilection for images of children, the
looseness of subject and handling of the Aesthetic Movement
and an incipient interest in psychology. No mere retread, Pensive
explores these three roots of late-nineteenth century artistic

100

Fig 2: John Singer Sargent (1856-1925), Carnation, Lily, Lily, Rose Tate,
London, 2015

production with a resolute seriousness, and a command of paint


that was the envy of Millaiss rivals. There is no artist of the period
more committed to giving his child subjects a sense of inner life,
and that is very much evident in this picture.
Pensive reveals Millaiss brushwork in its most athletic state
the artist worked alla prima, or quickly and in wet glazes upon
wet glazes, without underdrawing. The only painter who could
challenge his technique at the time was John Singer Sargent (18561925), who also specialized in child subjects. His works such as
Carnation, Lily, Lily, Rose of 1885-6 (fg. 2, Tate) similarly traded
in an Aesthetic Movement focus on subjectless pictures favouring
beauty for beautys sake, chromatic experimentation, and fnding
connections between children, nostalgia, ideas of innocence, and
nature. Pensive takes these ideas and leavens them with the type
of formal experimentation that James Abbott McNeill Whistler
(1834-1903) pursued, in portraits such as that of Mrs Frances
Leyland of 1871-4 (fg. 3, The Frick Collection), with its classical
profle, Japonisme dcor and cropping, and air of introspection. To
this Millais added his particular gift for imbuing his child subjects
with a sense of inner life, something less evident in Sargents work,
as his commissioned child portraits needed to convey a likeness
and more of a sense of realism (B.D. Gallati, Great Expectations:
John Singer Sargent Painting Children, Brooklyn Museum, 2004).
Despite the categorization of works such as Pensive as fancy
pictures idealized subjects, often in natural settings, inspired by
the Georgian Golden Age of British Art Millaiss girls are not

Fig 3: James McNeill Whistler (1834-1903), Symphony in


Flesh Colour and Pink: Portrait of Mrs Frances Leyland
The Frick Collection, New York

simply dolls in fancy dress, but fgures of consideration, at times


heavy-lidded, their heads inclined, and ruminative.
Pensive compares well with the summit of Millaiss achievements
in the last years of his life, including Bubbles and The Little
Speedwells Darling Blue (fg. 4, 1892, Lady Lever Art Gallery).
The latter was exhibited at the Academy the previous year, and
bears tonalities consistent with his late landscapes, such as the
suggestive and symbolic Dew-Drenched Furze (1889-90, Tate),
revealing the artist to be seeking a spiritual dimension as his
health declined. The Art Journal described the work as bearing a
scheme of purple-violet, and the opalescent background, marked
by wisps of vegetation and a mother-of-pearl tonality, is evident
also in The Little Speedwells Darling Blue. It is a channelling of
similarly washed and inexact backgrounds in the works of Thomas
Gainsborough and Reynolds, but also presages the abstract devices
and decorative formal experimentation that became paramount
in European symbolism of the period, and a presiding concern of
modernist artists in the following Century.
In 1895 Colonel J. W. Cameron (1841- 1896) of Greenbank,
Hartlepool, who served in the 4th Durham, Western Division,
Royal Artillery, and as Mayor in 1889-90, purchased the picture
along with Merry direct from Millais for 1,400 guineas without
copyright. Cameron, who had moved to Hartlepool in 1865,
took over the running of the Lion Brewery in 1872 and bought it
outright in 1893, was building a picture collection. He consulted
with the history and genre painter Arthur Stockdale Cope (1857-

Fig. 4: Sir John Everett Millais, P.R.A. (1829-96), Little Speedwells Darling Blue
Lady Lever Art Gallery, National Museums Liverpool / Bridgeman Images

1940), who would paint his portrait in that same year (R.A.,
1896, no. 611, Hartlepool Museums and Heritage Service). Cope
wrote to him concerning the possible purchase:
I thought youd like those two pictures I had to go & see
Millais on other matters just before I left & was glad to have
another look at them.He (Millais) is a very big man I heard
Leighton said that he was head and shoulders above any painter
of his time or century. I rather doubt if you would get those two
pictures for 1200. If I were you I would not offer less than 1400
gs for the pair, or he might decline altogether. He knows they are
worth more or will be than the gs 800 he is asking apiece
(Letter, A.S. Cope to Colonel Cameron, dated Carlton Colville/
Nr. Lowestoft,/Aug. 3, 1895.).
Considering that Cameron paid 1400 for them, it is possible that
Cope worked with Millais to get the price he wanted. In 1951
Sir Alfred Munnings (1878-1959), working from photographs,
wrote to the Cameron family, offering that Pensive, then hanging
in the dining room at Cowesby Hall, Thirsk, which was bought
by the family in 1946, would be worth at least 1,000. It has
since passed down in the family to the present owner.
We are grateful to Jason Rosenfeld, Distinguished Chair and
Professor of Art History, Marymount Manhattan College, New
York, for providing this catalogue entry.

101

61

Sir James Jebusa Shannon, R.A., R.B.A.


(1862-1923)
Iris
signed J J SHANNON (lower left) and dated 1891 (lower right)
oil on canvas
81 x 41 in. (205.7 x 105.4 cm.)

300,000-500,000

$460,000-750,000
430,000-700,000

PROVENANCE:

with Charles Roberson, London.


with Colnaghi, London.
Anonymous sale: Phillips, London, 13 October 1975, lot 182,
as Portrait of a young lady.
Anonymous sale: Sothebys, New York, 7 May 1998, lot 259.
with Richard Green, London.

EXHIBITED:

London, Goupil Gallery, 1891 or 1892.


London, Society of Portrait Painters, 1892, no. 128, as Iris
(Portrait of Miss M.).
London, Grafton Galleries, Fair Women Exhibition, 1894,
no. 149.
London, Fine Art Society, Pictures by J.J. Shannon, 1896, no. 13.

LITERATURE:

The Society of Portrait Painters, Standard, 23 June 1892, p. 2.


The Society of Portrait Painters, Times, London, 25 June 1892,
p. 8.
Our London Correspondence, Glasgow Herald, 27 June 1892,
p. 9.
The Society of Portrait Painters, Daily News, London, 27 June
1892, p. 8.
The Society of Portrait Painters, Morning Post, 28 June 1892,
p. 2.
The Grafton Gallery, Bristol Mercury and Daily Post, 17 May
1894, p. 5.
The Grafton Galleries, a Fair Women Exhibition, Daily News,
London, 17 May 1894, p. 6.
James Creelman, An American Painter of the English Court,
Munseys Magazine, vol. 14, no. 2, November 1895, pp. 128-137;
p. 132, illustrated p. 128.
Art Exhibitions, Times, 20 June 1896, p. 19.
L. Hind, The Work of J.J. Shannon, Studio, vol. 8, no. 40,
July 1896, pp. 66-75, illustrated p. 69.
C. Brinton, Modern Artists, New York, 1908, pp. 228-242.

102

The American-born Shannon rose through the ranks of British


society portrait painters to a status second only to that of his
contemporary John Singer Sargent (1856-1925). Over the course
of his career he engaged in a variety of styles and exhibited widely
at such venues as the Grosvenor Gallery, the New Gallery, the New
English Art Club, the Royal Academy, and the Society of Portrait
Painters, the last of which became royal under his presidency.
Iris, one of the most admired works in Shannons oeuvre, was
universally praised when it was shown at the Society of Portrait
Painters in 1892. As one commentator noted, Perhaps no picture
in the collection will be more popular than Mr. J.J. Shannons
Iris, a nearly life-size portrait of a lovely girl in white, against
tall blue irises and glimpses of blue sky (Glasgow Herald, 27
June 1892, p. 9). The critics were quick to recognize the images
artistic antecedents and deemed Iris an artistic daughter of the
eighteenth-century portraitist George Romney (1734-1802). One
writer observed, It is a little suggestive of Romney in sentiment and
pose, and by the prevalence of the simple white drapery, though,
indeed, the very blue-white of Mr. Shannon an experimentalist
in colour - is as different as it can be from the very cream-white of
Lady Hamiltons most constant adorer (Standard, 23 June 1892,
p. 2). Despite the inherent romanticism of the quaintly costumed
fgure, the modernity of Shannons technique is confrmed by his
method of paint application - the square brush style received
by way of his affliation with the Paris-trained Henry Herbert
La Thangue (1859-1929). Unlike most of his contemporaries,
however, Shannon deliberately integrated this innovative facture
with iconographic references to past portrait masters.
Iris again gained positive notices when it was included in the
1894 Fair Women Exhibition at the Grafton Galleries. One
of the few works by living artists on display, Iris held its own
amongst canvases by such portraitists as Reynolds, Gainsborough,
and Romney. It is likely that Iris was selected for the exhibition
through the auspices of Shannons most supportive patron, Violet,
Marchioness of Granby (1856-1937), who was a member of the
organizing committee. Later, as Duchess of Rutland, she became
celebrated for her sculpture. Given that Iris is not a portrait per
se, this artist-patron relationship perhaps explains the paintings
inclusion in an exhibition devoted to society portraits and, as
one commentator noted, From the preponderance of titled folks
it might be almost inferred that beauty was the monopoly of the
classes; but such a notion would be immediately dispelled by a
glance at Mr. J.J. Shannons study after the manner of Romney
This is a picture of a real rustic beauty who was discovered
by a friend of the artist and forthwith made into a charming
composition(Bristol Mercury and Daily Post, 17 May 1894,
p. 5).
Iris enjoyed continued prominence in assessments of Shannons
achievements. As late as 1908, the international art critic Christian
Brinton acknowledged the Romney-like Iris as an example of
Shannons best work.

103

THE PROPERTY OF A DECEASEDS ESTATE

62

James (Jacques) Joseph Tissot (1836-1906)


Les Demoiselles de Province
signed J.J. Tissot (lower right)
oil on canvas
58 x 40 in. (147.3 x 102.2 cm.)

1,200,000-1,800,000

$1,900,000-2,700,000
1,700,000-2,500,000

PROVENANCE:

Sold by the artist for 300 to Arthur Tooth & Sons, London (according to the artists
ledger and Tooths stock inventories).
with Arthur Tooth, London, until 22 May 1886, where purchased by Baker (320), then
re-acquired from Baker by Tooths, 28 December 1886.
Anonymous sale [E. Simon]; Christies, London, 30 March 1889, lot 135, as Provincial
Ladies (135 gns to Tooth).
Anonymous sale [Lefevre & Sons]; Christies, London, 15 April 1905, lot 140, as Early
Arrivals (unsold).
Private collection, Rotterdam, by 1955, and by bequest to the present owner.

EXHIBITED:

Paris, Galerie Sedelmeyer, Exposition J.J. Tissot - Quinze Tableau sur la Femme A Paris,
19 April - 15 June 1885, no. 12, as Les Demoiselles de Province.
London, Arthur Tooth & Sons, Pictures of Parisian Life by J.J. Tissot, 1886, no. 14,
as Provincial Women.

LITERATURE:

Arthur Tooth & Sons Picture Stock Inventories.


Graphic, 25 April 1885, p. 402.
New York Times, 10 May 1885.
Daily News, 24 May 1886, p. 2.
The Times, 24 May 1886, p. 9.
Liverpool Mercury, 13 July 1886, p. 7.
Bristol Mercury, 17 July 1886, p. 6.
W. E. Misfeldt, James Jacques Joseph Tissot: A Bio-Critical Study PhD dissertation,
Washington University, 1971, pp. 231-2 and 338.
W. E. Misfeldt, The Albums of James Tissot, Bowling Green, Ohio, 1982, p. 91, no. III-63.
M. Wentworth, James Tissot, Oxford, 1984, pp. 163, 169, 205 and pl. 189.
C. Wood, The Life and Work of James Joseph Tissot 1836-1902, London, 1995,
pp. 136-7, pl. 144.
C. Arscott, The Invisible and the Blind in Tissots Social Rituals, Seductive Surfaces:
The Art of Tissot, New Haven, 1999, pp. 72-3 and pl. 30.

104

105

Les Demoiselles de Province is a striking example of the painterly


talent and subtle humour that gained James Tissot international
renown and popularity for his modern life compositions. It
has remained unseen for over a century, known only from
contemporary descriptions and a photograph in Tissots record
albums.
Born Jacques Joseph Tissot in Nantes, northwest France, the artist
was an enthusiast for all things English and styled himself James by
1855, when he went to study in Paris. He had considerable artistic
talent and rapidly became successful, selling work from at least
1857, exhibiting at the Paris Salon from 1859, and having a large
painting bought by the French state in 1860 a rare accolade for
an emerging artist. Most of his early compositions emulated the
primitive style of the German Nazarene painters and British PreRaphaelites, as well as the historical pictures of the Belgian Henri
Leys (1850-69). In 1863 Tissot exhibited two stunning modern life
paintings, and went on to establish himself as a foremost painter
of contemporary Parisians, especially women. In the late 1860s
he conceived a series of compositions focusing on womens daily
lives, from widowhood to firtation, boredom in the countryside
to belle of the ballroom, theatre to confessional. Some of these he
worked up into paintings, such as Une Veuve, 1868 (fg. 1, sold
in these Rooms, 12 June 1992, lot 116), which were snapped up
by American collectors. Following a decade in London, Tissot
revisited his earlier idea upon returning to Paris, and painted
a series of Parisian Women (1883-85), one of which was our
picture, Les Demoiselles de Province.

Fig 1: Une Veuve, 1868, sold Christies, London, 12 June 1992, lot 116.

Fig 2: Too Early, 1873 Guildhall Art Gallery, City of London / Bridgeman Images

106

Standing in the corner of a ballroom is an elderly gentleman with


three young women, his daughters, all in evening dress. Musicians
on the distant podium are not yet ready, and it is clear these guests
have arrived before others. Their discomfture and uncertainty are
palpable, and would have been well understood by Tissot, who
was himself, as Cyrille Sciama has pointed out, a provincial in
Paris and an outsider in England. Papa holds his hat, and looks a
little overwhelmed and bemused. One daughter, in white, hangs on
tightly to his arm while trying to look confdent, with head erect.
Another, in pink, appears more self-assured, holding in her left
hand an invitingly open fan. The tallest of the three, in blue, holds
her fan closed and looks directly at us with a faint smile, perhaps
relieved to see more arrivals, or someone she has been waiting for.
Her long neck is emphasised by a blue choker matching her hair
ornament, fan, and flmy tulle gown. The pink and white dresses
have fashionably long cuirass bodices, emphasising waist and
hips. Tissot delights in the detail of seams, tucks and fabric; the
pink bodices decorative lacing leads down to a fshtail of pleated
muslin and rustling silk, while buttons trim the whites front. So
detailed does the costume seem that one might think it painted
with a tiny brush, yet closer viewing reveals bravura impressionistic
brushwork, not only in the swathes of fabric but also in the plants
and mirrors. Tissot cultivated exotic hothouse plants, and the
deftly painted array here includes geraniums, orchids and palms. A
wall mirror behind the group refects and multiplies the ballrooms
mirrored walls and banners, with fags on the left secured by a
gilded fgure holding cornucopias, and swags of French banners
above carrying heraldic and sculptural medallions.
Tissot returned to the subject of one of his most acclaimed London
works, Too Early (fg. 2, Guildhall Art Gallery, City of London),
which had caused a great sensation when exhibited at the Royal
Academy in 1873. Reprising in mirror image the central group of
fgures, Tissot updates their costumes and sets them in an opulent
French ballroom rather than an understated Adam interior. Both
have an expanse of polished parquet inviting dance, and orchestra
members getting ready to play. A glimpse of servant girls peeking
through a doorway adds a humorous touch in Too Early, while
a complete comic scene plays out in the background of Les
Demoiselles de Province: the orchestras elderly cellist has dropped
his music, and a colleague is delving beneath the stage to retrieve
it, assisted by a violinist. This deft little gem demonstrates Tissots

remarkable painting skills, as well as his acute observation of


human behaviour, and love for performing arts. Near the musicians
sits a black cat, one of the many felines that can be seen strolling,
stretching or sleeping in Tissots paintings. The overall composition
is tightened, with a focus on the key protagonists, as seen in other
canvases of the Femme Paris series. This included LAmbitieuse
(Political Woman) (fg. 3, Albright-Knox Art Gallery, Buffalo); Ces
Dames des Chars (The Ladies of the Cars) (fg. 4, Museum of Art,
Rhode Island School of Design, Providence); Sans Dot (Without
Dowry) (sold Sothebys, New York, 31 October 2000, lot 133);
La Plus Jolie Femme de Paris (The Fashionable Beauty) (private
collection); La Mondaine (The Woman of Fashion) (formerly
Tanenbaum Collection, Toronto); La Demoiselle dHonneur (The
Bridesmaid) (Leeds Museums and Galleries); Les Femmes dArtiste
(Painters and their Wives) (Chrysler Museum, Norfolk, Virginia);
Les Femmes de Sport (The Amateur Circus) (Museum of Fine
Arts, Boston); La Demoiselle de Magasin (The Young Lady of
the Shop) (Art Gallery of Ontario, Toronto); and fve currently
unlocated canvases La Mysterieuse (The Mystery), LAcrobate
(The Tight-Rope Dancer), La Menteuse (The Gossip), Le Sphinx
(The Sphinx) and Musique sacre (Sacred Music).
Accompanying the London exhibition at Tooths in 1886 was a
descriptive catalogue. Political Woman, her dress a marvel of the
dressmakers art, has made what she believes to be a fair exchange
of her beauty against her white-haired husbands position. If not a
Minister he will be so one of these days through her management
of political salons. Provincial Woman leaves Paris for the salon
of some prefecture, say at Caen or at Dijon when M. le Prfet
is giving a ball. If the invitations were at 9 oclock, why not come
at 9 oclock? So, at least, thought M. Prudhomme and his three
daughters. Papa is simply lost in open-mouthed admiration;
while his daughters, in home-made dresses a little distressed at
being the frst arrivals are still sympathetically supporting him in
his astonished survey of the gilding and the mirrors. Gowns were
updated at home through addition of new decorations and the
profusion of fabric fowers is the give-away here. The Times critic
thought the painting a very amusing rendering of a scene that is
common enough in actual life and thought the group well worth
seeing, with all the elements of a popular success.

Fig 3: Reception or, LAmbitieuse (Political Woman), c.1883-85 (oil


on canvas), Tissot, James Jacques Joseph (1836-1902) / Albright
Knox Art Gallery, Buffalo, New York, USA / Bridgeman Images

Tissots plan was to produce etchings for La Femme Paris that


would be published with stories created by contemporary French
writers. Such etchings could be exhibited and sold more widely, at
more accessible prices, than paintings. The latter were exhibited
in Spring 1885, at the plush new Galerie Sedelmeyer in Paris, to
generate subscriptions for the proposed etchings, as was common
practice. A reviewer for the New York Times set out Tissots
publication plans: there would be ffteen etchings accompanied by
texts, of which fve-hundred copies would be printed; the images
and stories would be divided into three groups of fve; the third
group, scheduled to appear in December 1886, would give the
Demoiselles de Province to Guy de Maupassant, who will therein
fnd a royal opportunity for a good novelette. ... The hesitating,
yet proud papa, with his big hands, unhappy in their white kid
restraint, is inimitable. The three girls standing near seem to
wait for some Prince Charmant. Guy de Maupassant (1850-93)
is considered the greatest French writer of short stories, many of
which explore fashionable life in Paris. But Tissots project never
came to fruition, as his energies became directed into illustrating
the life of Christ after a visit to the Holy Land. He created etchings
for only fve of the Parisian Women, including LAmbitieuse
and Ces Dames des Chars but not Les Demoiselles de Province.
However, a small version of the latter in pastel en grisaille (sold
Sothebys, New York, 24 April 2003, lot 6) was probably made in
preparation for the etching. A study of heads (sold in these Rooms,
8 June 2000, lot 17) appears to be a supplementary work for sale
rather than a preparatory sketch.
We are grateful to Krystyna Matyjaszkiewicz and Cyrille Sciama
for their help in providing this catalogue entry.

Fig 4: Ces Dames des Chars or The Ladies of the Cars, 1883-85
(Museum of Art, Rhode Island School of Design, Providence)

107

LITERATURE:

Letter from Margaret, Lady Glentanar, to de Lszl, 26 July


[probably 1922] (DLA069-0036).
Daily Express, 10 March 1922 (DLA092-0099).
O. Rutter, Portrait of a Painter, London, 1939, pp. 279, 302, 364.
This portrait was commissioned by the sitters mother, Lady
Glentanar. She was delighted with the fnished picture and wrote
to the artist: I cannot tell you the pleasure it is to me to possess
it, & it really speaks to me when I look at it. I thank you very
much for giving me such a reminder of my dear daughter. De
Lszl noted on the letter that he had charged 450 guineas for the
commission.
Lilian Maud Glen Coats (1885-1946), was born at Belisle,
Scotland, the youngest daughter of George Coats, 1st Baron
Glentanar, and his wife Margaret Lothian Black. She married
Arthur Charles, Marquess of Douro (1876-1941), great-grandson
of the frst Duke of Wellington, on 23 March 1909. They lived at
Stratfeld Saye in Hampshire from 1910. They had two children,
Anne Maud Wellesley (1910-98), and Henry Valerian George, Earl
of Mornington (1912-43).

64

Philip Alexius de Lszl (1869-1937)


Portrait of Mary Frances Dundas, wife of Robert
Finnie McEwen of Marchmont and Bardrochat,
three-quarter length
signed and dated P.A. de Lszl/1914.III. (lower right)
oil on canvas
69 x 43 in. (176.2 x 109.2 cm.)

25,000-35,000

*63

PROVENANCE:

Philip Alexius de Lszl (1869-1937)


Portrait of the Marchioness of Douro, ne
the Hon. Lilian Maud Glen Coats, later 5th
Duchess of Wellington, half-length
signed and dated de Lszl/1922.VI (lower right)
oil on canvas
38 x 28 in. (97.8 x 71.8 cm.)
In the original frame

20,000-30,000

$38,000-53,000
36,000-49,000

$31,000-45,000
29,000-42,000

By descent in the family until


Anonymous sale; Sothebys, London, 12 October 1988, lot 25.
Anonymous sale; Christies, South Kensington, 11 May 2005, lot
46, where purchased by the present owner.
The McEwens were notable patrons of de Lszl, who produced
eight portraits of the family between 1911 and 1925. This portrait
was painted as a pendant to that of Marys sister Louise, and they
hung together at Marchmont House, Berwickshire. Mary McEwen
was born in India in 1864, the eldest daughter of Robert Henry
Duncan Dundas (1823-1912) and Catherine Anne Carrington
Napier (1841-1929). She was also painted by Sir John Lavery
(1856-1941) in 1907 alongside her daughters, Katherine Isobel
(1899-1979) and Elizabeth Jeannet (1902-1913).

PROVENANCE:

By descent in the family until


Anonymous sale; Henry Duke & Son, Dorchester, 28
February 2002, lot 101.
with Richard Green, London.

EXHIBITED:

London, The French Gallery, A Series of Portraits and Studies


by Philip A. de Lszl, M.V.O., June 1923, no. 19.
London, Richard Green Galleries, Modern British Paintings
1880-2002, 29 May-21 June 2002.

108

We are grateful to Katherine Field for writing the catalogue entries


for these portraits, which will be included in the Philip de Lszl
catalogue raisonn, currently presented in progress online: www.
delaszlocatalogueraisonne.com. The Hon. Mrs de Laszlo and a
team of editors are compiling the catalogue raisonn of the artists
entire oeuvre. Katherine Field is the Senior Editor. Please see www.
delaszloarchivetrust.com or contact catalogue@delaszlo.com for
more information or to offer any contribution.

109

*65

Philip Alexius de Lszl (1869-1937)


Double portrait of Reginald Wright and John
Brady Wright, his stepson, half-length
signed, inscribed and dated de Lszl/PARIZ [sic]/1927 (lower
right)
oil on board
37 x 27 in. (69 x 95 cm.)

10,000-15,000

$16,000-23,000
15,000-21,000

PROVENANCE:

Reginald W. Wright, Chteau de Brindos, Biarritz, France.


Sold 30 August 1952 [unknown auction house].

LITERATURE:

Letter from Mrs Claude Beddington to de Lszl, 6 July [1927]


(DLA057-0105).
Correspondence from the artist, dated 6 November 1927, Paris
(Chatsworth Archives, Chatsworth, Bakewell, Derbyshire).
Receipt from The French Gallery to de Lszl, 17 January 1928
(DLA107-0095).
List of individuals enquiring about having their portrait painted,
The French Gallery to de Lszl [undated] (DLA107-0114).
This portrait was commissioned through the French Gallery, where
de Lszl had a one-man exhibition in June 1927. He was paid an
honorarium of 700 for the portrait.

65

Reginald Wright (1898-1949) was born in Manchester. On 21 July


1924 he married Cornelia Harris of New York, at St Martin in the
Fields, London. She was the granddaughter of former New York
Mayor William Vermilye Brady (1811-1870). John Brady Wright
was the youngest child of her marriage to Leland Harry Langley.
Wright was Master of the Biarritz hunt near his Chteau du Lac
de Brindos in southern France. In England he served as Master of
Foxhounds for the Fernie and South Atherstone Hunts.

l66

Gerald Leslie Brockhurst (1890-1978)


Portrait of Mrs Lebus
signed BROCKHURST (lower left)
oil on gesso
34 x 28 in. (86.3 x 73.3 cm.)

10,000-15,000

$16,000-23,000
15,000-21,000

PROVENANCE:

Anonymous sale; Bonhams, Knightsbridge, 22 February 2005, lot


118, where purchased by the present owner.
Brockhurst often painted on a white gesso ground to improve
luminosity, preferring the patented Crossland Flexibile Gesso
which comprised gesso and muslin loosely laid over a blind
stretcher.
66

110

*67

Philip Alexius de Lszl (1869-1937)


Portrait of the Hon. Ivy Gordon-Lennox, later
Duchess of Portland, in profle to the left, bustlength
oil on canvas
26 x 21 in. (66 x 53.3 cm.)

10,000-15,000
PROVENANCE:

$16,000-23,000
15,000-21,000

Zofa Turowska; Sothebys, London, 13 May 1987, lot 64.

De Lszl completed three portraits of the sitter in 1915. This


portrait is thought to have been left unfnished and was most
probably cut down from three-quarter length. It is very similar in
composition and dress to the fnished picture commissioned by her
fanc, the Marquess of Titchfeld. The artist gave a third portrait,
of the sitter in her wedding veil, to the couple as a present on the
occasion of their marriage that year.
The Honourable Ivy Gordon-Lennox (1887-1982) was the only
child of Lord Algernon Charles Gordon-Lennox and Blanche
Maynard. On 12 August 1915 she married (William) Arthur Henry
Cavendish-Bentinck, Marquess of Titchfeld, at Welbeck Abbey.
De Lszl was invited to the wedding and made a vivid pencil
drawing of the chapel and congregation during the ceremony. The
Marquess succeeded his father as 7th Duke of Portland in 1943.
There were two daughters from the marriage, Alexandra Margaret
Anne (1916-2008) and Victoria Margaret (1918-55).

111

l68

Sir George Clausen, R.A., R.W.S.


(1852-1944)
Study for Primavera
signed G. Clausen (lower right)
charcoal on paper
15 x 10 in. (38.2 x 26.7 cm.)

10,000-15,000

112

$16,000-23,000
15,000-21,000

The most striking and unusual paintings that Clausen produced in


the years up to the Great War were classical nudes. While he was
not seeking to recreate the classical world in the manner of his
predecessors Leighton and Alma-Tadema, he nevertheless struck
out for a purity of form that had much in common with the work
of Puvis de Chavannes. No other nude of the period conveys these
qualities so well as the great Primavera, exhibited at the Royal
Academy in 1914 (sold Christies, London, 17 June 2014, lot 95,
92,500) for which this drawing is a study. The sitter is one of his
favoured models, either Dorothy [Dolly] Henry or Lilian Ryan.

PROPERTY OF THE TRITON COLLECTION FOUNDATION

69

Aubrey Vincent Beardsley (1872-1898)


Rjane
signed with device (lower left) and inscribed and dated Rejane 1893
(lower right)
pencil, pen and black ink and black and red chalks on paper
7 x 6 in. (19.3 x 15.8 cm.)
10,000-15,000

$16,000-23,000
15,000-21,000

PROVENANCE:

Frederick H. Evans; probably Anderson Galleries, New York, 20


March 1919, catalogue untraced.
A French private collection.
with Ewan Phillips Gallery, London, 1967.
Anonymous sale; Christies, London, 2 December 1986, lot 105.
Anonymous sale; Christies, London, 6 March 1998, lot 131.
Private collection, Switzerland.
The Triton Collection Foundation.

EXHIBITED:

London, Carfax Gallery, Drawings by Aubrey Beardsley, October


1904, no. 83.
Rotterdam, Boijmans Van Beunigen Museum, From Monet
to Picasso, Masterpieces on paper 1860-1960 from the Triton
Foundation collection, November 2002-February 2003.
The Hague, Gemeentemuseum, Ttes feuries, 19e - en 20e - eeuwse
portretkunst uit de Triton Foundation, July - December 2007, p. 11.

LITERATURE:

G.W., Aubrey Beardsley, in Memoriam, The Studio, vol. 13,


1898, pp. 252-63.
A. Beardsley, A Book Of Fifty Drawings With An Iconography By
Aymer Vallance, London, 1897, no. 94.
R. Ross and A. Vallance, Aubrey Beardsley, London, 1909, no. 94.
J. Lane, The Later Work of Aubrey Beardsley, New York, 1967,
pl. 40.
B. Reade, Aubrey Beardsley, New York, 1967, p. 334, no. 265,
illustrated.
J.J. Lvque, Les annes de la belle poque 1890-1914, Paris, 1991,
p. 277.
S. van Heugten, Avants-gardes, 1870 to the present, the Collection
of the Triton Foundation, Brussels, 2012, p. 538, illustrated in
colour p. 133.
The present drawing of the actress Madame Rjane, is one of a
number of drawings (1856-1920), Beardsley executed of the actress
at the height of his interest in the theatre. The choice of red chalk
as a medium is unusual for Beardsley, but may be explained by
this drawing being sketched during the run of her play Madame
Sans-Gne at the Gaiety Theatre, June 1894. Stephen Calloway
suggests that the arrangement of light and shade may well be a
result of the low angle of stage footlights. Having sketched the
actress in the portable medium of chalk, the pen decorations,
inscription and borders were probably added later in the studio.
The present drawing was probably used as the model for the other
drawings of Rjane, including one in the Metropolitan Museum of
Art, New York and for the Yellow Book (Reade, op.cit., no. 359).
This drawing was formerly in the collection of the rare book dealer,
Frederick Evans (18531943), an early patron of Beardsley.

113

70

George Elgar Hicks (1824-1914)


The Bayeux Tapestry
Queen Matilda with her Norman & Saxon
maidens working the Bayeux Tapestry, 67 yards
long, to illustrate the Norman Conquest, & to
prove Williams Title to the Throne of England
signed and dated G.E. Hicks. 1899. (lower right)
oil on canvas
36 x 72 in. (91 x 183 cm.)

40,000-60,000
PROVENANCE:

$61,000-90,000
57,000-84,000

Anonymous sale; Sothebys, London, 12 July 2007, lot 49.

EXHIBITED:

London, Royal Academy, 1899, no. 670.

LITERATURE:

Academy Notes, 1899, p. 26.

114

71

Henry John Stock


(1853-1930)
The Uplifting of Psyche
By the help of a divinity not our
own - Virgil
signed and dated H.J. Stock./1905 (lower right)
and further signed and inscribed The Uplifting
of Psyche/By the help of divinity not our own/
Virgil/By H.J. Stock/16 Elm Park Rd Chelsea
S.W. (on a label attached to the stretcher)
oil on canvas
82 x 46 in. (208.3 x 116.9 cm.)

20,000-30,000

$31,000-45,000
29,000-42,000

EXHIBITED:

London, Royal Institute of Painters in Oil


Colours, 1905, number untraced.
This picture seems to show Psyche being revived
by Cupid after she has opened the casket given
to her by Venus to take to Proserpine in Hades,
and been overcome by the fumes that emerge.
She and Cupid subsequently marry and she
joins the gods on Mount Olympus, the tale
representing an allegory of the souls search
for God.
For many Victorians the most familiar version
of the story was that given by William Morris
in The Earthly Paradise (1868-70), and
this may indeed have been known to Stock.
However, when he exhibited the picture in
1905 the catalogue quoted Lonsdale and Lees
1871 translation of a line in Virgils Aeneid,
Book II, line 396: Vadimus immixti Danais
haud numine nostro. Aeneas is describing
how he and his companions, attempting to fee
the sacked city of Troy, put on the armour of
Greeks they had slain and attempted to make
their way to safety by the help of a divinity
not our own. The narrative context bears no
relationship to the story of Cupid and Psyche,
although the line in question was obviously
adaptable to Stocks subject.
Stock trained at the Royal Academy Schools
and exhibited at the Academy and elsewhere
for many years. He seems to have earned his
living painting portraits, although his real
interest lay in imaginative subjects expressed in
a style which suggests the infuence of William
Blake and G. F. Watts. With Blake he may have
felt some special sense of identity. Like Blake,
he was born in Soho, and he lived latterly at
Felpham in Sussex when Blake had spent the
years 1800-03 under the patronage of William
Hayley.

115

72

Sidney Richard Percy (1821-1886)


A view of Blea Tarn,Westmorland
signed and dated S R Percy 1870 (lower right) and further signed and inscribed Blea Tarn/
Westmorland/S. Percy (on the reverse)
oil on canvas
24 x 38 in. (61 x 96.5 cm.)

25,000-35,000
PROVENANCE:

$38,000-53,000
36,000-49,000

Anonymous sale; Christies, London, 13 June 2000, lot 61, where purchased by the present
owner.

116

73

Benjamin William Leader, R.A. (1831-1923)


A sandy shore on the south coast, Littlehampton
oil on canvas
36 x 64 in. (91.5 x 162.5 cm.)

60,000-80,000

$91,000-120,000
85,000-110,000

PROVENANCE:

with Cooling Galleries, London.

EXHIBITED:

London, Royal Academy, 1904, no. 14.

LITERATURE:

F. Lewis, Benjamin Williams Leader, R.A. 1831-1923, Leigh-on-Sea, 1971, p. 52, fg. 84,
no. 559.
R. Wood, Benjamin Williams Leader R.A. 1831-1923, His Life and Paintings,
Woodbridge, 1998, p. 130.

117

74

William James Blacklock (1816-1858)


A Millers Homestead
signed and dated W J Blacklock 1854 (lower right), and inscribed A
Millers Homestead. Cumberland and Westmorland. Lake District.
(on the stretcher)
oil on canvas
16 x 29 in. (40.5 x 74.2 cm.)

100,000-150,000

$160,000-230,000
150,000-210,000

PROVENANCE:

Commissioned from the artist by Charles Roberson.


Anonymous sale; Bearnes, Exeter, 10 March 1993, lot 377, where
purchased by the present owner.

EXHIBITED:

London, Tate Gallery, on loan (November 1994 - March 1996).


Grasmere, The Wordsworth Trust at Dove Cottage, on loan
(1996 - July 2002, January 2003 2009).
Carlisle, Tullie House Museum; and Exeter, Royal Albert
Memorial Museum & Art Gallery, Love, Labour & Loss:
300 Years of British Livestock Farming in Art, 20 July 2002 to
4 January 2003, catalogue unnumbered.

LITERATURE:

Letter to James Leathart, 7 Portland Place, Carlisle, 2 June 1854.


This spectacular landscape comes from one of the fnest painters
of the English Lake District, and an intriguing and important
fgure in the history of 19th Century painting who formed a bridge
between the achievements of Romanticism and the innovations
of the Pre-Raphaelite School. Although born in Shoreditch,
Blacklocks family returned to live at Cumwhitton in Cumbria in
1821, where the beauty of his surroundings profoundly affected
the young artists vision. Although he was at frst apprenticed
to a lithographer, Blacklock soon turned to landscape painting.
However it was his output between 1850 to 1855 (he died in an
asylum in 1858, aged 42, as a result of monomania of ambition
and general paralysis) that is now celebrated for its intensity, in
much the same way that Richard Dadds Bedlam pictures intrigue
with their almost hallucinogenic, obsessive detail. Indeed, when
this picture was shown at Tate Britain between 1992 and 1994 it
hung alongside Dadds The Fairy Fellers Master-Stroke, its exact
contemporary.
A Millers Homestead dates from 1854, six years after the
formation of the Pre-Raphaelite Brotherhood. It was commissioned
by Charles Roberson, the artists colour-man, who did so much to
change the appearance of mid-19th Century painting through his
introduction of prepared canvases, innovative pigments, and tubes
of colour that could be deployed outside the studio. This landscape
exemplifes the effect of these, and sits within the zeitgeist of
Pre-Raphaelitism with its intense scrutiny of the natural world.
At the same time Blacklock appears to anticipate Impressionism,
responding keenly to the constantly shifting quality of light falling
on the distant hills, the sunshine and shadow giving volume to the
forms they describe. The picture is quintessentially impressionist in
its immediacy, and its being of the moment.
Blacklocks Pre-Raphaelite links are tantalising. Through
his friendship with William Bell Scott he met Rossetti, and
was commissioned to paint three canvases for the Gateshead

118

Pre-Raphaelite collector, James Leathart. Our picture was


mentioned in correspondence with Leathart on 2 June 1854: I
have however got two pictures just fnished one the same lake as
I am going to do for Mr Armstrong but a different view nearer
the Langdale Pikes the other a Millers homestead and the mill
looking over a moor distant hills etc they are for Mr Roberson
the artist colourman.
His earlier landscapes had already been admired by Turner and
Ruskin. Another admirer was David Roberts to whom this
painting may have belonged. In An Artists Career, a lengthy
article published by the Glasgow Evening News in 1900 that did
much to revive Blacklocks reputation, the artist Henry Wilkinson
recalled writing to him that he called upon Roberts and was
ushered into his dining room, full of the best modern masters.
What picture think you, occupied the post of honour? Why yours,
fanked on one side by a Stanfeld, and on the other by one of the
fnest Wilsons I ever saw Every one of these was given me by
the artist, and Blacklocks is the only picture I ever purchased in
my life!!! Theres for you. He pointed out the rocks, river and
trees and said they are all exquisitely painted, and true to nature.
The mill, he said was rather thin I said, in my opinion, No man
Living could paint better and he agreed with me.
Ruskins injunction to artists to go to nature, rejecting nothing,
selecting nothing and scorning nothing has been wholeheartedly
absorbed by Blacklock. Gill Bank Farm and mill stands besides
Whillan Beck, a tributary of the River Esk. The Scarfell range,
overlooking Burnmoor stands in the distance. This picture is
amongst the greatest of Blacklocks works (some consider it his
masterpiece), many of which can be found in Tullie House, Carlisle,
the Abbott Hall Art Gallery, Kendal, and the National Gallery of
Ireland, Dublin. Others can be seen in The British Museum, the
Yale Center for British Art, Dove Cottage (the Wordsworth Trust),
and Leeds City Art Gallery.

75

WILLIAM POWELL
FRITH, R.A. (1819-1909)
Isabelle Frith reading
signed and dated W.P. FRITH 1845 (lower left) and
with inscription Portrait sketch of my Mother,/Isabelle
Frith, ne Baker;/Probably painted in 1850/by W.P.
Frith R.A./Walter Frith./13 Harley Gardens./S.W.10/
July ix:1933 (in the hand of the artists son, on a label
attached to the reverse) and with a further inscription
Sketch by Frith R.A. (on a fragmentary label attached
to the stretcher)
oil on panel
11 x 13 in. (28 x 34.3 cm.)

7,000-10,000


$11,000-15,000
9,900-14,000

EXHIBITED:

York, Fine Art and Industrial Exhibition, 1866, catalogue


unnumbered.
Frith and Isabelle Baker (1822-80) were married in York on
26 June 1845, the year this work was executed. This suggests
that it may have been painted while the couple were on their
honeymoon in the Derbyshire Dales. Their first address was in
Charlotte Street, London, but in 1847 as the family grew, they
moved into their first wholly-owned house, 13 Park Village
West in Regents Park. Another portrait of Isabelle Frith was
sold in these Rooms from the collection of Christopher Wood
on 28 February 2007, lot 56.

76

FREDERICK RICHARD
LEE, R.A.
(1798-1879)
A distant view of Dunbar Castle - Sportsmen
returning with the days bag
signed and dated Fredk. Richd. Lee ARA/1835 (lower
right)
oil on canvas
28 x 36 in. (71 x 91.5 cm.)

10,000-15,000


$16,000-23,000
15,000-21,000

PROVENANCE:

J.L. Kennedy, Ardwich Hall, near Manchester.


Anonymous sale; Christies, London, 5 June 1981, lot 49.
with Richard Green, London.
EXHIBITED:

(Probably) London, British Institution, 1835, no. 219.


(Probably) Liverpool, Liverpool Academy, 1835, no. 153.
We are grateful to Kenneth Westwood for his help in
preparing this catalogue entry.

PROVENANCE:

77

John Faed, R.A. (1820-1902)

Bought by Lefvre, 1873 (420).


Anonymous sale; Bearnes, Exeter, 31 October 1984, lot 322.
with David Messum, London, 1985, no. 8.

After the Victory

EXHIBITED:

London, Royal Academy, 1873, no. 91.

signed and dated Faed. 1873 (lower centre)


oil on canvas
32 x 43 in. (83.2 x 109.2 cm.)

20,000-30,000

LITERATURE:

$31,000-45,000
29,000-42,000

M. McKerrow, The Faeds: A Biography, Edinburgh, 1982, pp.


145, 147.
When exhibited at the Royal Academy in 1873, this picture was
listed with a quotation from the Scottish poet, Robbie Burns
ballad of 1793, When Wild Wars Deadly Blast was Blawn, which
tells the story of life after war Wi mony a sweet babe fatherless,/
And mony a widow mourning. The devastated widow has received
news of the death of her husband, leaving her with two children
and an elderly mother-in-law to care for.

121

78

Richard Ansdell, R.A. (1815-1885)


Sheep gathering in Glen Spean, Scotland
signed and dated R Andsdell/1872 (lower right)
oil on canvas
35 x 75 in. (91 x 191 cm.)

70,000-100,000

$110,000-150,000
99,000-140,000

PROVENANCE:

Anonymous sale; Sothebys, Gleneagles, 27 August 2003, lot 1178.

EXHIBITED:

London, Royal Academy, 1873, no. 562.


Sheep Gathering in Glen Spean is a superb example of Ansdells work executed at
the height of his career. He became a Royal Academician in 1870 and celebrated this
achievement by building a large Highland lodge on the shores of Loch Laggan as a
summer family retreat, and as a place to entertain his artist friends who joined him there
on numerous painting expeditions. He adored Scotland and built up a rapport with the
working shepherds, often depicting them in highly descriptive paintings going about their
business. Ansdell had nothing but respect for the hardships they faced as he himself was
the son of a hard-working artisan who died when he was a boy leaving the family destitute.
Due to his affnity with the shepherds, it was natural that he would soon have his own
fock of Scottish black-faced sheep. He took great joy in portraying a fock in minute detail,
as can be seen here, giving each animal its own personality. The shepherd is traditionally
dressed in woollen garb and is accompanied by two trusty collie dogs. The tri-coloured
dog was a pet of the Ansdell family and the sable one was often included in his droving
paintings to give an attractive accent of colour. The shepherd calmly puffs on his clay pipe
as he and his dogs routinely navigate the fock over diffcult terrain as part of a large drove
snaking off into the distance. Glen Spean would have been well-known to the artist as his
lodge was built at the point where the River Spean joined Loch Laggan. It is possible that
the location of this painting could be Lairig Leachach, a busy droving route.
For Ansdell, these happy, heady days would soon be overshadowed by ill-health. This
contributed much impetus and poignancy to his later Highland paintings. The Art Journal
(1873, p. 310) reported that We much regret to hear the health of this popular artist is of
such a character that his medical attendants advise his passing the winter in the South of
Europe. He had somewhat lately built himself a residence in the extreme north of Scotland,
but has been recommended not to inhabit it, nor even to visit Scotland for the future. This
was a cruel twist of fate as with full Academician status in 1870 he became enormously
popular: It being then just as much the vogue to have a picture by Ansdell as it was to
have one by [Thomas Sidney] Cooper in later years (A. Todd, The Life of Richard Ansdell,
R.A., Manchester, 1919, p. 25). Ansdell and Cooper were friends and shared painting
expeditions. Knowing his health was fading, Ansdell expended great care on these late
Highland landscapes. He wanted posterity to judge them his masterpieces.
We are grateful to Sarah Kellam, great, great granddaughter of Richard Ansdell, for her
help in preparing this catalogue entry. www.richardansdell.co.uk

122

79

RICHARD DOYLE
(1824-1883)
Fairies and squirrels in a forest
signed with monogram (lower left) and
numbered 36 (on the reverse)
pencil and watercolour on paper
14 x 20 in. (35.5 x 50.8 cm.)

5,000-8,000


$7,600-12,000
7,100-11,000

PROVENANCE:

with The Maas Gallery, London.


Anonymous sale; Christies, London, 15 December
2011, lot 54.
80

79

JOHN RUSKIN,
H.R.W.S. (1819-1900)
Root and Blossom
pencil and watercolour heightened with
touches of bodycolour on buff paper
3 x 6 in. (9.9 x 16.2 cm.)

5,000-8,000


$7,600-12,000
7,100-11,000

PROVENANCE:

Mrs Joan Severn.


with The Fine Art Society, London, 1907, from
whom purchased by
Mrs Peatling, Carshalton, Surrey; Christies, London
11 July 1923, lot 5, with a watercolour by G.
Cattermole (4 gns to Carey).
EXHIBITED:

80

The Fine Art Society, Exhibition of Water-Colours


and Drawings by the late John Ruskin, March-April
1907, unnumbered.
LITERATURE:

E.T. Cook and A. Wedderburn, The Works of John


Ruskin (Library Edition), London, 1912, XXXIX, no.
1409.
We are grateful to Stephen Wildman for his help in
preparing this catalogue entry.
81

WILLIAM FRASER
GARDEN
(1856-1921)
The Pike and Eel, Needingworth,
Huntingdon
signed and dated W.F. GARDEN. 1902 (lower
left)
pencil and watercolour on paper
10 x 15 in. (27.4 x 38.6 cm.)
81

3,000-4,000


$4,600-6,000
4,300-5,600

82

A watercolourist of distinction and member of the Old Watercolour Society, Boyce was also the confdante of Rossetti, and his
diaries give a lively account of twenty-fve years of the artists life
while in London and the circumstances and history of many of
Rossettis drawings.

George Price Boyce, R.W.S.


(1826-1897)
Nocturne: Venice by Moonlight; and The Nile
at Gizeh
the frst signed with monogram and dated 54 (lower left) and with
inscription from the Riva degli Schiavoni, Venice/by moonlight/
George P Boyce 1854 (on the reverse) and the second signed,
inscribed and dated The Nile at Gizeh - from window of Fadel
Pashas House-/by moonlight/George P Boyce - Nov 20. 1861
(on the reverse)
watercolour and bodycolour on oatmeal paper
5 x 8 in. (14.3 x 22.5 cm.); and 2 x 7 in. (5.4 x 19 cm.)
(2)

4,000-6,000

$6,100-9,000
5,700-8,400

John Ruskin (1819-1900) and Boyce corresponded during the


summer of 1854 while Boyce visited Italy and Ruskin was in
Switzerland. Ruskin writes I am vexed at thinking that I have
perhaps been partly instrumental in leading you into the expense
and trouble of a long journey But as you are in Venice, I
congratulate myself, in the hope of at last seeing a piece of St
Marks done as it ought to be: Ruskin Letter to Boyce, 14 June
1854, in V. Surtees (ed.), The Diaries of George Price Boyce,
Norwich, 1980, p. 119.
Boyce travelled to Egypt in October 1861 in the company of the
Swedish artist E.S. Lundgren (1815-75) and Frank Dillon (18231909), a pupil of James Holland. For a drawing by Rossetti given
to Boyce, see lot 3. Boyces Nocturnes at Venice and on the Nile
can be seen to be anticipating those made famous by Whistler just
a few years later.

125

PROPERTY FROM THE ALFRED BEIT FOUNDATION

83

John Atkinson Grimshaw (1836-1893)


Yew Court, Scalby, on a November night
signed and dated Atkinson Grimshaw/1874+ (lower left) and
further signed, inscribed and dated Yew Court Scalby/on a
November night./Painted by Atkinson Grimshaw/For T. JARVIS
Esq. Scarbro/1874+ (on the backboard)
oil on card
8 x 17 in. (21 x 43.8 cm.)

50,000-70,000

$76,000-110,000
71,000-98,000

PROVENANCE:

Painted for Thomas Jarvis, Scarborough, and by descent.


Anonymous sale; Christies, London, 21 July 1978, lots 234, where
purchased by the present owner.

LITERATURE:

A. Robertson, Atkinson Grimshaw, Oxford, 1988, p. 70.

126

Grimshaw spent a great deal of time in Scarborough during the


1870s, and depicted the town and the surrounding landscape in
oil and watercolour. The present painting illustrates Yew Court,
Scalby, named after its distinctive row of yew trees. It was in the
garden at Yew Court that Grimshaw painted The Rectors Garden:
Queen of the Lilies (1877, Harris Museum and Art Gallery,
Preston). Thomas Jarvis, for whom this painting was executed
was a successful brewer in Scarborough and a keen supporter of
Grimshaws work. At the time the painting was made Grimshaw
was living in a house known as Castle-by-the-Sea in Scarborough,
which was rented from him. It is Jarvis who is generally credited
with turning Grimshaws work in a new direction and encouraging
the artist to paint more moonlit scenes. A similar composition but
with two fgures and dated 1875 is at Scarborough Art Gallery.

PROPERTY FROM THE ALFRED BEIT FOUNDATION

84

John Atkinson Grimshaw (1836-1893)


The old gates,Yew Court, Scalby, near Scarborough
signed and dated Atkinson Grimshaw/1874+ (lower right) and further signed, inscribed and
dated The old gates_Yew Court_Scalby - Near Scarborough/Painted at Scarbro by/Atkinson
Grimshaw/For Thomas Jarvis Esq. 1874+ (on the backboard)
oil on card
8 x 17./ in. (21 x 43.8 cm.)

50,000-70,000

$76,000-110,000
71,000-98,000

PROVENANCE:

Painted for Thomas Jarvis, Scarborough, and by descent.


Anonymous sale; Christies, London, 21 July 1978, lot 235,
where purchased by the present owner.

LITERATURE:

A. Robertson, Atkinson Grimshaw, Oxford, 1988, p. 70.

127

*85

John Atkinson Grimshaw (1836-1893)


Moonlight after rain
signed and dated Atkinson Grimshaw/1884+ (lower left) and inscribed Moonlight after
rain/Atkinson Grimshaw/1884+ (on the reverse)
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)

200,000-300,000

$310,000-450,000
290,000-420,000

PROVENANCE:

with Christopher Wood, London.


In the 1880s Grimshaws style changed and he began to paint the moonlit lane scenes for
which he is primarily celebrated. A key example is Silver Moonlight at the Mercer Art
Gallery, Harrogate. Many of these scenes were composed of details from the numerous
sketches he made of the area around Leeds so that no two pictures were ever identical.
These compositions usually involved a quiet lane fanked by high walls, trees, a partly
hidden mansion, and a single fgure, usually female, positioned somewhere along a leaf
strewn road, highlighting the peaceful stillness of the moment. Grimshaws remarkable
attention to detail is exemplifed by the intricate tracery of branches which is silhouetted
against a cloudy and moonlit sky, masterfully refected in the windows of the house and in
the small pools of water in the lane.

128

129

86

Elizabeth Adela Stanhope Forbes, R.W.S.


(1859-1912)
Portrait of Marion Kerr
oil on canvas
18 x 11 in. (47.5 x 29.2 cm.)

25,000-35,000

$38,000-53,000
36,000-49,000

PROVENANCE:

By descent to the sitters daughter.


Anonymous sale; Christies, London, 2 May 1989, lot 58.
with Richard Green, London.
with Clerkenwell Fine Art, London.

LITERATURE:

H. Cook and M. Hardie, Sings from the Walls, The Life and Art of
Elizabeth Forbes, p. 187, no. 4.211.
When this picture last appeared at auction it was erroneously described as
being signed with a monogram. The monogram was questioned in Singing
from the Walls, The Life and Art of Elizabeth Forbes (H. Cook and M.
Hardie, p. 187, no. 4.211.). It has now been established, however, that the
picture is not signed. We are grateful to the many Newlyn School specialists
who have confrmed the attribution to Forbes.

l87

Dame Laura Knight, R.A., R.W.S.


(1877-1970)
A mother and child in a kitchen
indistinctly signed Laura Knight (lower left) and further signed, inscribed and
numbered 66 Interior/Laura Knight (on the stretcher
oil on canvas
24 x 20 in. (61 x 50.8 cm.)

18,000-25,000

$28,000-38,000
26,000-35,000

PROVENANCE:

Anonymous sale; Christies, London, 15 June 2011, lot 113.


This work appears to have been painted between Laura and Harold Knights
frst trip to Laren, Holland, in 1905, and their leaving Yorkshire to move
to Cornwall in 1908. Laura painted several oils similar in style to A mother
and child in a kitchen, using a cottage interior as a background. A similar
work, Dressing the Children was exhibited at the Royal Academy in
1906, and is now at The Ferens Art Gallery, Hull. Both show some Dutch
infuence, gained from the Knights trips to Laren. Laura painted several
works while in Staithes, often showing women in interiors performing
simple household tasks. Most of these works show careful observation and
understanding. As Laura observed in her autobiography: It was [at Staithes]
that I found myself and what I might do. The life and the place were what
I yearned for - the freedom, the austerity, the savagery and the wildness. I
loved it passionately, overwhelmingly; I loved the cold and the northerly
storms when no covering would protect you. I loved the strange race of
people who lived there...
We are grateful to John Croft, F.C.A., the artists great nephew, for his help
in researching this picture, which will appear in his forthcoming catalogue
raisonn of the works of Dame Laura Knight.

130

l88

Charles Walter Simpson (1885-1971)


Colour mosaic on the duck pond
signed, inscribed and dated 31 August 50.../C.W. Simpson/Little
Gonver(?)... (on a label attached to the stretcher)
oil on canvas
49 x 59 in. (125 x 150 cm.)

20,000-30,000

$31,000-45,000
29,000-42,000

Charles Simpson was taught frst by Lucy Kemp-Welch in Bushy,


and then by Stanhope Forbes in Newlyn. In 1910 he travelled to
Paris to study at the Acadmie Julien in Paris, and then during the
early 1900s he painted with Munnings with whom he remained
lifelong friends. After his marriage in 1913 he moved to Newlyn,
but spent time in Lamorna and London, before fnally settling in
Penzance. Between 1910 and 1920 Simpson worked on his Wild
Bird Series which was shown in St Ives, at Plymouth and also
at the Laing Art Gallery in Newcastle. He was highly successful
during his career, winning a gold medal at the Panama-Pacifc
International Exposition in San Francisco in 1915, a silver medal
at the Paris Salon in 1923, and a gold medal for a collection of
sporting paintings executed during the 1924 Paris Olympics.

131

89

Louis Welden Hawkins


(1849-1910)
La Tricoteuse
signed and dated L.W. HAWKINS. 06
(lower right)
oil on canvas
18 x 15 in. (45.8 x 38 cm.)

15,000-20,000

$23,000-30,000
22,000-28,000

In 1893 Alfred Lys Baldry, reviewing the


inaugural exhibition of the Grafton Gallery,
noted an abrupt change of direction
in the work of Louis Welden Hawkins
which surprises all who remember his
early realistic work. He was now taking
a strange digression into romantic
affectations characterised by his exhibit,
Temptation (unlocated). Hawkins had
forsaken his early rustic scenes in favour
of a Symbolism that recalled Rossetti and
Khnopff. This phase of his work lasted
some ten years and only around 1905
when he was making regular visits to
Brittany, did he return to subjects, such as
La Tricoteuse, on which his early realistic
reputation was based. Jean-Franois Millet
had painted the same subject a young girl
seated beneath a tree knitting in the mid1850s (Muse dOrsay, Paris).
Comparison between his early and late
styles is instructive. At Grez-sur-Loing in
the early 1880s, the precocious Hawkins
was a tonal Naturalist painter whose Les
Orphelins (1881, Muse dOrsay, Paris)
paved the way for the way for artists such
as Stott of Oldham and Lavery. It is clear
that during his fnal years, he moved his
peasant model out into bright sunlight - as
in La Tricoteuse. Millets subject retains
naturalistic precision while being placed
in an atmospheric envelope that recalls the
discoveries of the Impressionists.
KMc.

132

90

Herbert James Draper


(1864-1920)
Heaven lies about us in our Infancy
signed HERBERT DRAPER (lower left)
oil on canvas
34 x 23 in. (88.3 x 58.4 cm.)

20,000-30,000

$31,000-45,000
29,000-42,000

PROVENANCE:

Painted for Lucius William OBrien, 15th Baron


Inchiquin (1864-1929).
In 1898 Draper began a portrait of Ethel Jane, Lady
Inchiquin, which was fnished in 1899 and exhibited
at the Royal Academy the following year, before
it was removed to Dromoland Castle, the seat of
the Inchiquins, near Newmarket-on-Fergus in County
Clare, Ireland. After Drapers death in 1920, Lord
Inchiquin wrote to Drapers wife Ida that Everybody
who comes here, admires his portrait of my Wife!
(Letter, 13 September 1920, Draper Archive).
A note written by Lady Inchiquin in July 1932
(attached to the stretcher of the present painting)
states that our picture was painted as a smaller replica
of an earlier work by Draper. Lord Inchiquin was an
enthusiastic amateur artist who visited Draper in his
studio more than once. It must have been on ones
of these visits that he saw the artists masterpiece
Trailing Clouds of Glory, which was exhibited at the
Royal Academy in 1899 (no. 67) with the subtitle
Heaven lies around us in our infancy. These words
are from William Wordsworths poem Intimations of
Immortality. The innocent young Breton girl is seen
gazing up into the rays of light, which pour through
the stained glass window, towards a wooden model of
a galleon. The Liverpool Courier described the painting
as ...the sweetest thing he has ever done; one of the
truest and tenderest pictures of a child ever painted
(21 August 1899).

133

91

Philip Wilson Steer, O.M., R.A. (1860-1942)


Yachts at Cowes (Summer at Cowes)
signed and dated P.W. Steer 1892 (lower right)
oil on canvas
25 x 29 in. (63.5 x 73.7 cm.)

250,000-350,000

$380,000-530,000
360,000-490,000

PROVENANCE:

with Barbizon House, London, by 1932.


Sir Eardley Holland.
E.M. Worsley, by 1960.
Private collection.

EXHIBITED:

London, Arts Council of Great Britain, Tate Gallery; Birmingham, City Art Gallery;
Birkenhead, Williamson Art Gallery; Swansea, Glynn Vivian Art Gallery; Manchester,
City Art Gallery; Sheffeld, Graves Art Gallery; and Glasgow, Art Gallery and Museum,
Philip Wilson Steer, November 1960 - June 1961, no. 19.

LITERATURE:

Barbizon House, 1932, An Illustrated Record, 1932, p. 16, no. 12, illustrated as
Summer at Cowes.
D.S. MacColl, Life, Work and Setting of Philip Wilson Steer, London, 1945, p. 193,
as Yachts at Cowes.
B. Laughton, Philip Wilson Steer 1860-1942, Oxford, 1971, p. 133, pl. 52, no. 104.

134

Fig. 1: Summer at Cowes Manchester Art Galleries/Bridgeman Images

That beautiful blue is the optimism of painting - so declared


George Moore when he stood in front of works by Philip Wilson
Steer at the Goupil Gallery in 1894. Such colour, he continued, is
to the colourist what the drug is to the opium-eater: nothing matters,
the world is behind us, and we dream on and on, lost in an infinity
of suggestion. For Moore, pictures painted at Cowes showed Mr
Steer at his best (G. Moore, Mr Steers Exhibition, The Speaker,
3 March 1894, p. 258; idem, Modern Painting, 1898 (enlarged ed.,
Walter Scott), p. 242).
There was clearly something intoxicating about Steers first solo
exhibition. Its leitmotif was a series of plangent coastal scenes
painted at Boulogne, Walberswick and Cowes that ran through the
gamut of modern painting from Whistlerian oil sketches to full-blown
Impressionism in all its current guises, echoing Edouard Manet, Claude
Monet and even, at times, Georges Seurat. Steer had mastered the
idiom. He alone of his contemporaries, had fully grasped the purpose,
palette, and suave handling of the Impressionist, and could claim
that far from being a fashion or a craze, Impressionism simply
recognized that nature is bathed in atmosphere and the painters
task was to be of his time and record this (P.W. Steer, Appendix D:
Impressionism in Art, in D.S. MacColl, Life, Work and Setting of Philip
Wilson Steer, London, 1945, p. 177 (transcript of paper delivered to
the Art-Workers Guild, 1891)) .Yet even his recorded statements do
not prepare us for Steers radicalism. How was this isolated English
painter so advanced in continental terms? Why were his experiments
covering the entire range of modern painting so remarkable? For

Moore and one or two other new critics in the wake of the scandal
over Degass lAbsinthe, Steer was the new standard-bearer for
the avant-garde, and had he seen Yachts at Cowes (fig. 1) at this
point, his conviction could only have been confirmed (R. Pickvance,
LAbsinthe in England, Apollo, vol. 77, May 1963, pp. 395-8).
One of a series painted in the summer of 1892, the present canvas
is the only one to depict a specific location with which Steer was
already familiar the view of the harbour from East Cowes. Four
years earlier, he had stood at this same spot close to the shore to
paint Summer at Cowes (fig. 2). Laughton accepts that even though
a visit to Cowes in 1888 does not appear on the Chronological List
of painting locations, signed by Steer, the Manchester painting predates the present canvas (see Laughton, 1971, pp. 7-8, and note 7
which documents the various versions of the list, mostly compiled
when Steer was in his seventies (i.e. the 1930s)).
Comparison of the two pictures is therefore instructive. Many of the
points made in favour of the smaller work that its brushstrokes echo
classic Impressionist canvases by Monet and Sisley can be made in
relation to the larger. Yet the differences are also significant. Where
paint marks in the Manchester picture are agitated, suggesting a
windy day, the Solent, in the present canvas, is much calmer. White
sails reflected on its gently rippling surface are unruffled, and the
overhead muted cobalt, so admired by Moore, suggests a warm heat
haze. While the formats are strikingly similar, the foreground of the
present picture is more satisfactorily resolved with the inclusion of
spectators, the most vividly coloured of whom punctuate the

Fig. 2: Cowes Regatta Southampton City Art Gallery/Bridgeman Images

composition with notes of red and green on the right. Here, as at


Walberswick, Steer enjoyed observing holiday-makers watching
the off-shore excitement (fg 3).
Yacht racing at Cowes on the Isle of Wight during the frst week in
August each year became one of the principal events in the social
calendar in the 19th Century, having secured royal patronage in the
reign of King William IV with the formation of the Royal Yacht
Squadron. Its signifcance grew in the mid-century when Queen
Victoria moved her summer court to Osborne House, a few miles
from Cowes, and future Kings, Edward VII and George V became
commodores of the squadron. 1892 was particularly newsworthy,
as the queens grandson, Kaiser Wilhelm II, raced his yacht,
Meteor for the Queens Cup coming third. Although historians
have tended to read this event as portentous, it can scarcely
have registered on a painter, preoccupied with the fast-moving
scene. In this instance the leading yacht, its spinnaker unfurled, is
manoeuvred into the starting position, to which others will follow.
In the background, the little seaside town is bathed in sunshine.
A splendid spontaneity characterises the entire 1892 series. Steer
opened his eyes on the day as though seeing a new vision. He reacts
to its unique character, and works instinctively, with complete
undivided concentration. There was no faking of effects, no clever
quotation, no second-guessing the market. As John Rothenstein
later noted, he tends to work for the sake of his work alone, and to
become subject to an artistic morality governed by purely aesthetic
laws (J.K.M. Rothenstein, A Pot of Paint, The Artists of the 1890s,
1929 (Books for Libraries Press ed., 1970), pp. 132-3).

In old age Yachts at Cowes was retained by the artist as a personal


favourite from these long distant years. It is impossible to look at
the sequence and not be reminded of Prousts fctional town of
Balbec, as Henry Tonks, Steers lifelong friend, must have done.
It was however, the enterprising dealer, Lockett Thomson, who
prized the picture away from him in 1932, and described it as a
delicious piece of this rare period, when he unveiled it at his gallery
at Barbizon House, in Henrietta Street, London. His descriptive
note continues:
From the time it was painted, forty years ago, until quite recently,
this picture has hung in Mr Steers own house, and we are very
fortunate in its inclusion here. It is an exquisite harmony in blue,
relieved by the white sails of the boats, in contrast with the darker
hulls, and their refections sparkling on the water. The shimmering
haze of summer heat with scarcely a breath of wind is perfectly
suggested, and the strong green and red notes of the childrens
dresses make a bold and simple foreground, giving perspective to
the whole. To own this painting, and to see it constantly, must be
a never-ending source of pleasure (L. Thomson, Barbizon House,
1932, An Illustrated Record, 1932, no. 12).
While in the thirties, Cowes remained an essential fxture in the
social season, Thomson doubted that the scene had the same
quiet charm of the 1890s. It was this that the painter captured
in Yachts at Cowes - a lost world of innocent pleasure in which,
for the moment, nothing matters, but that beautiful blue which
expresses the optimism of painting.
KMc.

137

92

John Singer Sargent, R.A., R.W.S.


(1856-1925)
Gondoliers,Venice
signed and inscribed A Paolo Tosti/Souvinir amical de/John S.
Sargent (lower right)
pencil and watercolour on paper
9 x 13 in. (25.2 x 35 cm.)
circa 1902-4

120,000-180,000

$190,000-270,000
170,000-250,000

PROVENANCE:

Paolo Tosti.
Samuel Joseph, and by descent to the present owner.

LITERATURE:

R. Ormond and E. Kilmurray, John Singer Sargent: Venetian


Figures and Landscapes 1898-1913, New Haven, 2009, p. 145
Although Sargent was an inveterate traveller, it was Venice where
he felt most at home. His childhood friend, the author Vernon Lee,
observed of Venice that, the very beauty and poetry in Venice, its
shimmering colours and sliding forms, as of a past whose heroism
is overlaid by suspicion and pleasure seeking...the things which
Venice offers to the eye and the fancy conspire to melt and mar
our soul...with the enervation also of too much magnifcence
and squalor (as quoted in B. Robertson, Sargent and Italy, Los
Angeles, California, 2003, p. 13). It was this combination of its
present day beauty and its scandalous past that drew Sargent to
Venice time and time again, producing his best works including
The Grand Canal, Venice (National Gallery of Art, Washington).
Painted from a gondola on the Rio di Ognissanti, its prow visible
in the foreground, here Sargent perfectly captures the beauty and
bustling atmosphere of a Venetian summer. Figures are seen to
the left walking along the Fondamenta Bonlini, whilst dominating
the skyline with its instantly recognisable dome and two towers
is I Gesuati, a subject which fascinated Sargent. However, whilst
he painted several watercolours of the facade of the great church
facing the Zattere, this is the only side view.
The drawing is inscribed to Paolo Tosti (1846-1916), an Italian
tenor who became a much-lauded composer of Romantic songs.
He arrived in London in 1875, and with the help of powerful
friends became Master of Music to Queen Victoria in 1880, before
becoming Professor of singing at the Royal Academy of Music in
1894. He became a British citizen in 1906, and was knighted for
his achievements in 1908.

Fig. 1: Antonio Scotti, Paolo Tosti and Enrico Caruso, Venice, 1906 Private
collection

138

Samuel Joseph collected old master paintings, tapestries, and other


works of art. In his retirement, he devoted himself to studying
art and collecting pictures, which he lent widely for exhibitions.
The present drawing was inherited by Josephs daughter Nellie,
whose husband, Moses Nissim, was a cousin of Sir Philip and Sybil
Sassoon, great friends of Sargent who owned a large collection of
his work.

139

D93

Frank Bramley, R.A. (1857-1915)


When the blue evening slowly falls
signed and dated FRANK BRAMLEY 1909 (lower right) and
further indistinctly signed, inscribed and numbered 2./When the
blue/Evening slowly falls/Frank Bramley/Tongue Ghyll/Grasmere
(on the artists label attached to the stretcher)
oil on canvas
35 x 30 in. (90.8 x 76.8 cm.)

100,000-150,000

$160,000-230,000
150,000-210,000

PROVENANCE:

By descent in the family of the artists wife until


Anonymous sale; Christies, London, 21 December 1967, lot 364
(one of two in lot).
with The Fine Art Society, London.
The late Hon. Christopher Lennox-Boyd; Christies, London, 11
July 2013, lot 14.

EXHIBITED:

London, Royal Academy, 1911, no. 784.

LITERATURE:

Royal Academy Pictures, 1911, p. 5, illustrated.


Pall Mall Magazine Extra, Pictures of 1911, 1911, p. 32,
illustrated.
Black and White Handbook to the Royal Academy, 1911, 1911,
p. 32, illustrated.
R. Dircks, The Royal Academy: The Pictures, The Art Journal,
1911, p. 170.
Moving to Grasmere in 1900, Frank Bramley exchanged the
cottage interior for the Edwardian villa, as his primary mise-enscne. He nevertheless remained fascinated by contrasting interior
and exterior light sources as dusk fell in the drawing room on a
summers evening. Here in 1909, a pet Pomeranian named Philip,
that he had painted on other occasions, disturbs the reverie of a
woman robed in emerald. It is likely, given the works provenance,
that the woman is the painters wife, Katherine.
Bramley married Katherine Graham (b. 1872), an art student, in
1891, while he was working in Newlyn. She was the daughter
of the Borders historian, John Graham, J.P. of Huntingstile,
Grasmere. Four years after their marriage, the couple moved
to Droitwich in the West Midlands, but by 1900 had settled at
Tongue Ghyll, in Grasmere, where they remained until a few years
before the painters death in 1915. Little is known about Bramleys
life during his years in the Lakes, although they lived close to
Katherines younger sister, Elizabeth, who in 1900 had married
Charles Chalmers, a colonel in the Royal Scots (Lothian) Regiment.
Chalmers became Bramleys most important patron in the early
years of the Century, owning works such as Friends (1908) and For
the Rose was Beauty, as well as his family portraits. The Chalmers
appeared regularly in Bramleys work, along with their daughter,
Helen, one of whose portraits accompanied the present picture
at the Royal Academy in 1911. Bramleys Mr and Mrs Chalmers
(unlocated) was shown at the Royal Academy in 1902, while Helen
Graham Chalmers and her mother (private collection), appeared in
1908. Bramleys two other exhibits in 1911 were portraits: Helen,
Daughter of Charles Chalmers Esq. (no. 142) and Marjorie, (no.
275), a head study of a local girl, Marjorie Bennett. A further
family portrait, Fergus, Son of Mr Walter Graham, appeared at the
Royal Academy in 1906. These two paintings marked Bramleys
election as a full Academician.

140

By this stage the painter had completely abandoned the systematic


square brushwork of his youth and his handling in works such as
Delicious Solitude (1909, unlocated) was more painterly. This,
with its subject ranged to the right of the canvas, parallel to the
picture plane, could almost be considered a companion piece for
the present work.
In the latter, the book has fallen into the readers lap as she gazes
towards the garden. Bramleys drawing room reveries were in tune
with those of George Clausen and George Henry - two other early
adherents of the square brush method associated with BastienLepage - but his inclination towards narration remained. He now
adopted the blue and mauve shadows of the Impressionists, and for
this he was sometimes criticized (R. Thomas (ed.), Frank Bramley
RA, 1857-1915, 1999 (exh. cat., Usher Gallery, Lincoln), p. 38).
It may well be why the cautious and conservative Art Journal
described Bramleys work as individual and interesting in 1911
(R. Dircks, The Royal Academy: The Pictures, The Art Journal,
1911, p. 170). Indeed, like Clausen, he adopted large windows
giving on to a cool crepuscular garden scene as a backdrop. So
successful was this setting that the painter returned to it with A
Truce, (1912, Royal Institution of Cornwall) in 1912, a work
that closely relates to Confdences (1911, Royal Academy of Arts,
London), his Diploma picture of the previous year.
The present canvas precedes this sequence - one that encapsulates
the Edwardian middle class ennui. Narrative considerations, as
with Fireside Tales (see lot 109) and A Hopeless Dawn (Tate
Britain), are never far from the surface. Academy visitors might
be expected to speculate on the loneliness of Bramleys model, a
young woman whose reverie is unbroken by the appearance of her
lapdog - demanding immediate attention. The night is falling, the
shadows lengthening and the book is abandoned in a moment of
uneasy wakefulness as the blue evening slowly falls.
KMc.

141

l94

Wilfrid Gabriel de Glehn,


R.A. (1870-1951)
Gwendreath in blossom,
Cornwall
oil on canvas
28 x 36 in. (71.8 x 92 cm.)
Painted circa 1904

15,000-25,000

$23,000-38,000
22,000-35,000

PROVENANCE:

with David Messum, London, Studio


Collection Exhibition, 1991.
Wilfrid de Glehn and his sister Rachel
were introduced to Cornwall by their uncle
Oswald von Glehn, a painter and a friend
of Henry Scott Tuke. In due course Rachel
married a Cornishman and it was to their
home in Gwendreath, near Cadgwith, that
Wilfrid frst brought his wife Jane after
their marriage in 1904. Cornwall was,
thereafter, a favourite spot for holidays,
but it was after World War I that Wilfrid
and his wife Jane regularly spent the early
summer in Cornwall before going to the
South of France.

95

Tom Edwin Mostyn,


R.B.A., R.O.I.
(1864-1930)
The Bathing Place
signed T MOSTYN (lower right)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)

10,000-15,000
PROVENANCE:

$16,000-23,000
15,000-21,000

Anonymous sale; Christies, London, 4


March 1988, lot 1.

142

l*96

Sir Alfred James Munnings, P.R.A.,


R.W.S. (1878-1959)
The artist painting on Exmoor
signed A.J. Munnings (lower right)
oil on board
20 x 24 in. (51.2 x 61.2 cm.)

30,000-50,000
LITERATURE:

$46,000-75,000
43,000-70,000

A.J. Munnings, The Finish, Bungay, 1950, pp. 72 (illustrated), 78.

The artist painting on Exmoor is a rare self portrait of Munnings at


work, epitomising his love of plein air painting. Yet it was executed
soon after he had been elected President of the Royal Academy
and he wryly captioned the illustration of it in his autobiography:
Back on Exmoor I was working again, not able to realise what
I had taken on (Munnings, op. cit., 1950, p. 72). Munnings, a
countryman at heart, had a particular love of the dramatic and
distinctive landscapes around Exmoor in Devon and Withypool
in particular, where he and his wife had a house. The works that
Munnings produced there have an especially intimate and personal
feel since typically they were unsolicited and painted purely
for pleasure. In 1940 Castle House, in Dedham, their principal
residence, was requisitioned by the army and they decamped
to Exmoor on a more permanent basis. But with his election as
P.R.A. his Exmoor idyll was intruded upon with a stream of letters,
telegrams and requests to attend the Academy in war-torn London.
The painting will be included the forthcoming catalogue raisonn
of the work of Sir Alfred Munnings being prepared by Lorian
Peralta-Ramos.

143

Landscape painting was Alfred Munningss


frst love and throughout his life he made
landscape oil sketches, emulating his great
East Anglian predecessor, John Constable.
These works contrast the soft, fresh greens of
spring with the yellow of gorse and the white
of May blossom. In 1910-11 Munnings made
painting expeditions on the Ringland Hills
near Norwich with the gypsy boy Shrimp,
a caravan and a string of ponies. Munnings
later wrote: I developed a passion for the
gorgeous, blazing yellow of gorse in bloom,
and looking back, I am sorrowful to think how
little I indulged it and how many springs and
summers have slipped away since then. No
lying in the sun, breathing almond-scented airs,
dreaming, listening to the hum of bees and the
tiny snapping of gorse-beans bursting in the
heat and stillness of noon (An Artists Life,
London, 1950, p. 212).

l97

Sir Alfred James Munnings, P.R.A., R.W.S.


(1878-1959)
Spring landscape with gorse bushes; and Spring blossom
both signed A.J. Munnings (lower right)
oil on canvas
14 x 18 in. (35.6 x 45.7 cm.)
a pair (2)

20,000-30,000

144

$31,000-45,000
29,000-42,000

Gorse features in such paintings as Fetching the


brown pony, 1911 (private collection; London,
Sothebys, An English Idyll: a Loan Collection
of Works by Sir Alfred Munnings, 2002, no.
27, illustrated in colour) and Donkeys in
the Ringland Hills, 1911 (private collection;
S. Booth, Sir Alfred Munnings 1878-1959,
London 1986, no. 22, illustrated in colour).
In the present works Munnings concentrates
on the qualities of the gorse itself rather than
subordinating them to pictures of horses. He
has flled the foregrounds, bursting with a spiky
energy and colour which is matched by his rich,
complex impasto.
These paintings will be included the
forthcoming catalogue raisonn of the work of
Sir Alfred Munnings being prepared by Lorian
Peralta-Ramos.

l98

Sir Alfred James Munnings, P.R.A.,


R.W.S. (1878-1959)
Hop Pickers Returning
signed A.J. Munnings (lower left)
oil on canvas
20 x 24 in. (50.8 x 61.5 cm.)

80,000-120,000
PROVENANCE:

$130,000-180,000
120,000-170,000

with James Connell & Sons, London, Exhibition of Paintings by


A.J. Munnings, 1919, no. 1.
with St Jamess Gallery, London, 1961.

Of all my painting experiences, none were so alluring and


colourful as those visits spent amongst the gypsy hop-pickers in
Hampshire each September wrote Munnings More glamour and
excitement were packed into those six weeks than a painter could
well contend with. I still have a vision of brown faces, black hair,
earrings, black hats and black skirts; of lithe fgures of women and
children, of men with lurcher dogs and horses of all kinds... Never
in my life have I been so flled with a desire to work as I was then
(A.J. Munnings, An Artists Life, Bungay, 1950, pp. 287-9).
Munnings was frst introduced to the gypsies in 1913 by his
friend, Olive Branson, who had a house in Hampshire and would
spend part of each year travelling around England and Ireland in
a caravan with several gypsy families. Each autumn the gypsies
would congregate at Binstead in Hampshire for the hop-picking
season. Munnings focused on a small group of gypsy families,
who were closely inter-related, including Stevens, Gray, Gregory,
Loveday and Lee. Inspired by these new and exciting subjects
Munnings painted a series of works of the gypsies going about their
daily life. A number of young artists, including Augustus John also
had painted groups of gypsies at around this time.
The painting will be included the forthcoming catalogue raisonn
of the work of Sir Alfred Munnings being prepared by Lorian
Peralta-Ramos.

145

PROPERTY OF A PRIVATE COLLECTOR

l*99

Sir Alfred James Munnings, P.R.A.,


R.W.S. (1878-1959)
Saddling
signed A.J. Munnings (lower left) and with number and inscription
No 49./Saddling (on a printed label attached to the stretcher)
oil on panel
11 x 16 in. (29.2 x 40.7 cm.)

150,000-250,000

$230,000-380,000
220,000-360,000

Racing was an enduring subject throughout Munningss life, from


St Buryan races (1915, Royal Academy) to late in his career when
The Start became a central theme, and he was given free access to
paint at Newmarket. Munnings regularly attended race meetings
and was inspired as much by the calm but business-like atmosphere
in the paddocks as the explosive energy of the start. He often
focused on preparations before a race, as in our picture, Saddling,
where he captures the moment of concentration as the jockey
and trainer make last minute adjustments to the girth, with the
horses waiting patiently, and other trainers, grooms and race-goers
standing nonchalantly in the paddock.
Cheltenham Saddling Paddock; March meeting, painted in 1947,
is arguably the artists most celebrated depiction of the build-up to
a race and is a subject that he produced many small oil sketches
for. The present picture most probably dates from earlier in his
career: the silks correspond with those seen on the lead jockey in
Going out at Epsom (1931, Royal Academy). During this period
he produced many racing pictures for his own pleasure and used
his own horses, in particular Chips, and his groom, Slocombe as
a jockey.
The painting will be included the forthcoming catalogue raisonn
of the work of Sir Alfred Munnings being prepared by Lorian
Peralta-Ramos.

146

147

VARIOUS PROPERTIES

100

Edward Atkinson Hornel (1864-1933)


The Echo
signed and dated EA Hornel. 1910. (lower left)
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)

20,000-30,000
PROVENANCE:

with Aitken, Dott & Son, Edinburgh.

148

$31,000-45,000
29,000-42,000

PROVENANCE:

with Scott & Fowles, New York.


Dr and Mrs William Gordon Lyle.
Private collection, U.S.A., 2003.

EXHIBITED:

l*101

U.S.A., Athens, Georgia Museum of Art, on loan (2006-2014).

Gerald Leslie Brockhurst (1890-1978)


Portrait of Hermione
signed BROCKHURST (lower right)
oil on panel
18 x 13 in. (45.7 x 34.3 cm.)

30,000-50,000

$46,000-75,000
43,000-70,000

LITERATURE:

R. Ray, The Eternal Masquerade: Prints and Paintings by Gerald


Leslie Brockhurst (1890-1978) from the Jacob Burns Foundation,
exhibition catalogue, Georgia, 2006, fg. 17.
In September 1914 Brockhurst and his new wife, Anas Folin,
embarked on a tour throughout France and Italy. This trip
provided the artist with his frst direct contact with the work of
the Italian masters, particularly those of the quattrocento. The
infuence of those works is evident in this painting, a highly striking
portrait of Anas, which was subsequently given a fanciful title.

149

l102

Charles Spencelayh (1865-1958)


Behind the screen

PROVENANCE:

Sam Cowan, Esq., by 1978.


with Richard Green, London, by 1985.
with Walker Galleries, Harrogate.

signed C. SPENCELAYH (lower left)


oil on canvas
15 x 12 in. (38 x 30.5 cm.)

60,000-80,000

150

$91,000-120,000
85,000-110,000

LITERATURE:

A. Noakes, Charles Spencelayh and his Paintings, London, 1978,


illustrated p. 174, no. 56.

PROPERTY FORMERLY FROM THE ESTATE OF THE LATE ARTHUR


HOLMES

l103

Charles Spencelayh (1865-1958)


Time Flies
signed C. SPENCELAYH. (lower right) and further signed,
inscribed and dated Charles Spencelayh. R.M.S./80 Manor Park./
Lee. London. S.E./ Title Time Flie[s] (on a label attached to the
reverse)
oil on panel
14 x 9 in. (35.5 x 25 cm.)

70,000-100,000

$110,000-150,000
99,000-140,000

PROVENANCE:

Arthur Holmes, and by descent to the present owner.

151

PROPERTY FORMERLY FROM THE ESTATE OF


THE LATE ARTHUR HOLMES

l104

Charles Spencelayh
(1865-1958)
The Miser
signed C. SPENCELAYH (lower right)
oil on canvas
14 x 18 in. (35.5 x 46.4 cm.)

30,000-50,000

$46,000-75,000
43,000-70,000

PROVENANCE:

with H. &. P. Casseres, Harrogate.


Arthur Holmes, and by descent to the
present owner.

PROPERTY FORMERLY FROM THE ESTATE OF


THE LATE ARTHUR HOLMES

105

Edward Ladell
(1821-1886)
Still-life of fruit with a lemon
and glass
signed with monogram (lower left)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)

8,000-12,000
PROVENANCE:

$13,000-18,000
12,000-17,000

with Newman Gallery, Duke Street,


London, July 1965, from whom purchased
by Arthur Holmes, and by descent to the
present owner

152

l106

Sir William Russell Flint, R.A.,


P.R.W.S., R.S.W. (1880-1969)
A Gift of Gladioli: Cecilia
signed W. RUSSELL FLINT (lower left), and signed, inscribed and
dated A Gift of Gladioli/ (Cecilia)/ W Russell Flint/ June 1965 (on
the reverse)
watercolour on paper, laid on board
15 x 17 in. (38.8 x 43.8 cm.)

25,000-35,000

$38,000-53,000
36,000-49,000

PROVENANCE:

Anonymous sale; Bonhams, London, 3 December 2002, lot 42.


with Richard Green, where purchased by the present owners.
Cecilia Green was Russell Flints favourite model, and one who
greatly shaped the latter part of his career. She sat for him
hundreds of times between 1953 and 1966, fulflling his ideas of
the perfect model he had long since sought. Her delicate beauty is
here echoed by the elegant stem of the gladioli she holds.

153

l107

Sir William Russell Flint, R.A.,


P.R.W.S., R.S.W. (1880-1969)
The Blonde Minx - Yolande Donlan
signed W RUSSELL FLINT (lower right)
oil on canvas
22 x 40 in. (57 x 102.3 cm.)

80,000-120,000

$130,000-180,000
120,000-170,000

PROVENANCE:

Purchased by the sitter from the artist, and by descent to the


present owner.

EXHIBITED:

London, Royal Academy, 1949, no. 322.


Russell Flints The Blonde Minx - Yolande Donlan, encapsulates
the Hollywood glamour that the American actress Yolande Donlan
(1920-2014) brought to post-war London, bewitching theatre
goers and making her the toast of the town. When exhibited at
the Royal Academy in 1949 it attracted stellar reviews and was
voted the picture of the exhibition. Flint was extremely well suited
to capture such theatrical beauty and the portrait followed his
depiction of Vivian Leigh as Cleopatra (1945, Royal Academy)
and a triple portrait of the ballerina Moira Shearer (1948, Royal
Academy).
After a string of parts in Hollywood and on Broadway, Yolande
Donlan came to the attention of Sir Lawrence Olivier, who few
to Boston to audition her for the starring role in his West End
production of Born Yesterday (1947) which became a huge
success. Flint saw her the following year as Lucrece in Noel
Langleys musical romp set in ancient Rome, Cage Me a Peacock.
He presented his card at the stage door and proposed that she sit
for him. Although initially reluctant, her future husband, the flm
director Val Guest, persuaded her that she shouldnt pass up this
opportunity with the most popular British painter alive today.
Flint chose to portray her in the diaphanous green chiffon costume
she wore as Lucrece and, as beftting the star of the moment, the
sittings were eagerly recorded in the press. Donlan bought the
picture on the opening night of the Royal Academy exhibition and
it has remained in her family ever since.
Donlan went on to appear on stage with Sir Richard Attenborough
in To Dorothy a Son (1950) and in flm, often directed by her
husband. She starred with Douglas Fairbanks, Jun. in Mister
Drakes Duck (1951), Dirk Bogarde in Penny Princess (1952) and
Cliff Richard in Expresso Bongo (1959). She recorded her love
of travel in her book Sand in my Mink (1955) and published an
autobiography Shake the Stars Down (1976). She retired with her
husband to Palm Springs in California and in 2004 the couple were
awarded a plaque on the citys Walk of Stars.

154

l*108

EDWARD SEAGO, R.B.A., R.W.S. (19101974)


The Champs-lyses by the Marigny Theatre, Paris
signed Edward Seago (lower left) and with inscription CHAMPS ELYSEES by the
MARIGNY THEATRE (on the reverse)
oil on canvas
18 x 24 in. (45.7 x 61 cm.)

30,000-50,000


$46,000-75,000
43,000-70,000

l*109

Edward Seago, R.B.A., R.W.S. (1910-1974)


Marsh hay
signed Edward Seago (lower left) and with inscription MARSH HAY (on the reverse)
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)

30,000-50,000

$46,000-75,000
43,000-70,000

157

l110

Edward Seago, R.B.A.,


R.W.S. (1910-1974)
Canal scene,Venice
signed Edward Seago (lower left) and with
inscription CANAL SCENE, VENICE (on
the reverse)
oil on board
20 x 30 in. (50.8 x 76.2 cm.)

20,000-30,000

$31,000-45,000
29,000-42,000

PROVENANCE:

with Frost & Reed, London.


with Richard Green, London.

l111

Edward Seago, R.B.A.,


R.W.S. (1910-1974)
Campo San Zanipolo,Venice
signed Edward Seago (lower left) and with
inscription THE CAMPO S. ZANIPOLO
- VENICE (on the reverse)
oil on board
20 x 30 in. (50.8 x 76.2 cm.)

20,000-30,000
PROVENANCE:

$31,000-45,000
29,000-42,000

with Marlborough Fine Art, London.

158

l*112

Edward Seago, R.B.A.,


R.W.S. (1910-1974)
August Morning, Ponza
signed Edward Seago (lower left) and
with inscription AUGUST MORNING,
PONZA (on the reverse)
oil on board
20 x 30 in. (50.8 x 76.2 cm.)

20,000-30,000

$31,000-45,000
29,000-42,000

l*113

Edward Seago, R.B.A.,


R.W.S. (1910-1974)
Rime frost, Norfolk
signed Edward Seago (lower left) and
with inscription THE RIME FROST.
NORFOLK (on the reverse)
oil on board
20 x 30 in. (50.8 x 76.2 cm.)

15,000-20,000

$23,000-30,000
22,000-28,000

END OF SALE

159

Conditions of Sale Buying at Christies


CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out
the terms on which we offer the lots listed in this
catalogue for sale. By registering to bid and/or by
bidding at auction you agree to these terms, so
you should read them carefully before doing so.
You will find a glossary at the end explaining the
meaning of the words and expressions coloured
in bold.
Unless we own a lot ( symbol, Christies acts as
agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description
have special meanings. You can find details of
these on the page headed Important Notices and
Explanation of Cataloguing Practice which forms
part of these terms. You can find a key to the
Symbols found next to certain catalogue entries
under the section of the catalogue called Symbols
Used in this Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate dimensions
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age, previous
damage, restoration, repair and wear and tear. Their
nature means that they will rarely be in perfect
condition. Lots are sold as is, in the condition
they are in at the time of the sale, without any
representation or warranty or assumption of liability
of any kind as to condition by Christies or by the
seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason they are
not an alternative to examining a lot in person
or taking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists may be available to
answer questions at pre-auction viewings or by
appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on
prices recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot or
its value for any other purpose. Estimates do not
include the buyers premium or any applicable
taxes.

6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.

2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.

C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS


You agree that when bidding in any of our sales
that you will strictly comply with all local laws and
regulations in force at the time of the sale for the
relevant sale site.
D

THE BUYERS PREMIUM, TAXES


AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including 50,000, 20% on that part of
the hammer price over 50,000 and up to and
including 1,000,000, and 12% of that part of the
hammer price above 1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7839 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The

terms of the authenticity warranty are as follows:


(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed since the auction
leading to a change in generally accepted opinion.
Further, it does not apply if the Heading either
matched the generally accepted opinion of experts
at the date of the sale or drew attention to any
conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.

F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this,


we may sell the lot again, publicly or privately on
such terms we shall think necessary or appropriate,
in which case you must pay us any shortfall between
the purchase price and the proceeds from the
resale. You must also pay all costs, expenses, losses,
damages and legal fees we have to pay or may suffer
and any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
your default in which case you acknowledge and
understand that Christies will have all of the rights
of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the
purchase price and may begin legal proceedings
to recover it together with other losses, interest,
legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christies Group
may owe you (including any deposit or other partpayment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can reject at any future auction any bids
made by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any bids;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain such
property as collateral security for your obligations
to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or other
part-payment you have made to us, or which we
owe you, to pay off any amount you owe to us
or another Christies Group company for any
transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property
we hold or which is held by another Christies
Group company in any way we are allowed to
by law. We will only release your property to you
after you pay us or the relevant Christies Group
company in full for what you owe. However, if we
choose, we can also sell your property in any way
we think appropriate. We will use the proceeds of
the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is
a shortfall, you must pay us any difference between
the amount we have received from the sale and the
amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment, you
must collect the lot within seven days from the date
of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due to
us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed in
writing. If we do this, we will pay you the proceeds
of the sale after taking our storage charges and any
other amounts you owe us and any Christies
Group company.
(c) Information on collecting lots is set out on
an information sheet which you can get from the
bidder registration staff or Christies Cashiers +44
(0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within seven
days from the date of the auction, we or our
appointed agents can:
(i) charge you storage fees while the lot is still at
our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to our agent directly for these costs.

H TRANSPORT AND SHIPPING


1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of
doing so. We recommend that you ask us for an
estimate, especially for any large items or items
of high value that need professional packing before
you bid. We may also suggest other handlers,
packers, transporters or experts if you ask us to do
so. For more information, please contact Christies
Art Transport on +44 (0)20 7839 9060. See
the information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com. We will take reasonable care when
we are handling, packing, transporting and shipping
a lot. However, if we recommend another company
for any of these purposes, we are not responsible for
their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7839 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
easily confused with elephant ivory (for example,
mammoth ivory, walrus ivory, helmeted hornbill
ivory) can only be imported into the US with
results of a rigorous scientific test acceptable to Fish
& Wildlife, which confirms that the material is not
African elephant ivory. Where we have conducted
such rigorous scientific testing on a lot prior to sale,
we will make this clear in the lot description. In
all other cases, we cannot confirm whether a lot
contains African elephant ivory, and you will buy
that lot at your own risk and be responsible for any
scientific test or other reports required for import
into the USA at your own cost. If such scientific test
is inconclusive or confirms the material is from the
African elephant, we will not be obliged to cancel
your purchase and refund the purchase price.

(d) Lots containing material that originates


from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth 34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its
discretion, make the displayed endangered species
strap available to the buyer of the lot free of charge
if collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.
(c) In particular, please be aware that our written
and telephone bidding services, Christies LIVE,
condition reports, currency converter and

saleroom video screens are free services and we


are not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other
than a buyer in connection with the purchase of any
lot.
(e) If, in spite of the terms in paragraphs (a) to (d)
or E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us. We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
J
OTHER TERMS
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation
contained in this agreement, we can cancel a sale of
a lot if we reasonably believe that completing the
transaction is, or may be, unlawful or that the sale
places us or the seller under any liability to anyone
else or may damage our reputation.
2 RECORDINGS
We may videotape and record proceedings at any
auction. We will keep any personal information
confidential, except to the extent disclosure is
required by law. However, we may, through this
process, use or share these recordings with another
Christies Group company and marketing partners
to analyse our customers and to help us to tailor
our services for buyers. If you do not want to be
videotaped, you may make arrangements to make
a telephone or written bid or bid on Christies
LIVE instead. Unless we agree otherwise
in writing, you may not videotape or record
proceedings at any auction.
3 COPYRIGHT
We own the copyright in all images, illustrations and
written material produced by or for us relating to a
lot (including the contents of our catalogues unless
otherwise noted in the catalogue). You cannot use
them without our prior written permission. We
do not offer any guarantee that you will gain any
copyright or other reproduction rights to the lot.
4 ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not
valid or is illegal or impossible to enforce, that part
of the agreement will be treated as being deleted
and the rest of this agreement will not be affected.
5

TRANSFERRING YOUR RIGHTS


AND RESPONSIBILITIES
You may not grant a security over or transfer your
rights or responsibilities under these terms on the
contract of sale with the buyer unless we have
given our written permission. This agreement will
be binding on your successors or estate and anyone
who takes over your rights and responsibilities.
6 TRANSLATIONS
If we have provided a translation of this agreement,
we will use this original version in deciding any
issues or disputes which arise under this agreement.
7 PERSONAL INFORMATION
We will hold and process your personal information
and may pass it to another Christies Group
company for use as described in, and in line with,
our privacy policy at www.christies.com.
8 WAIVER
No failure or delay to exercise any right or remedy
provided under these Conditions of Sale shall
constitute a waiver of that or any other right or
remedy, nor shall it prevent or restrict the further
exercise of that or any other right or remedy. No
single or partial exercise of such right or remedy
shall prevent or restrict the further exercise of that
or any other right or remedy.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations
arising out of or in connection with this agreement, or
any other rights you may have relating to the purchase
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
to those proceedings), we agree we will each try to
settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is

not settled by mediation, you agree for our benefit that


the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
to requests to remove these details from www.
christies.com.
K
GLOSSARY
authentic: a genuine example, rather than a copy
or forgery of:
(i) the work of a particular artist, author or
manufacturer, if the lot is described in the
Heading as the work of that artist, author or
manufacturer;
(ii) a work created within a particular period or
culture, if the lot is described in the Heading as a
work created during that period or culture;
(iii) a work for a particular origin source if the lot
is described in the Heading as being of that origin
or source; or
(iv) in the case of gems, a work which is made of
a particular material, if the lot is described in the
Heading as being made of that material.
authenticity warranty: the guarantee we give in
this agreement that a lot is authentic as set out in
section E2 of this agreement.
buyers premium: the charge the buyer pays us
along with the hammer price.
catalogue description: the description of a lot
in the catalogue for the auction, as amended by any
saleroom notice.
Christies Group: Christies International Plc,
its subsidiaries and other companies within its
corporate group.
condition: the physical condition of a lot.
due date: has the meaning given to it in paragraph
F1(a).
estimate: the price range included in the catalogue
or any saleroom notice within which we believe
a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
higher figure. The mid estimate is the midpoint
between the two.
hammer price: the amount of the highest bid the
auctioneer accepts for the sale of a lot.
Heading: has the meaning given to it in paragraph
E2.
lot: an item to be offered at auction (or two or
more items to be offered at auction as a group).
other damages: any special, consequential,
incidental or indirect damages of any kind or any
damages which fall within the meaning of special,
incidental or consequential under local law.
purchase price: has the meaning given to it in
paragraph F1(a).
provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph
E2 and Qualified Headings means the section
headed Qualified Headings on the page of
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
will not sell a lot.
saleroom notice: a written notice posted next to
the lot in the saleroom and on www.christies.
com, which is also read to prospective telephone
bidders and notified to clients who have left
commission bids, or an announcement made by the
auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
UPPER CASE type: means having all capital
letters.
warranty: a statement or representation in which
the person making it guarantees that the facts set
out in it are correct.

Vat Symbols and Explanation


You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol

We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)

For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.

VAT refunds: what can I reclaim?


If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer

EU VAT registered
buyer

No VAT refund is possible


No symbol and

* and

Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.

No Symbol and

The VAT amount in the buyers premium cannot be refunded. However,


on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.

If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.

* and

The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non EU buyer
No Symbol

1. We CANNOT offer refunds of VAT


amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under 100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:

The VAT amount in the buyers premium cannot be refunded.


However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.

We will refund the VAT amount in the buyers premium.

and

We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.

(wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.

* and

We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.

(a) have registered to bid with an address


outside of the EU; and
(b) provide immediate proof of correct
export out of the EU within the required
time frames of: 30 days via a controlled
export for * and lots. All other lots
must be exported within three months of
collection.
4. Details of the documents which you
must provide to us to show satisfactory proof
of export/shipping are available from our
VAT team at the address below.

We charge a processing fee of 35.00


per invoice to check shipping/export
documents. We will waive this processing
fee if you appoint Christies Shipping
Department to arrange your export/
shipping.
5. If you appoint Christies Art Transport
or one of our authorised shippers to arrange
your export/shipping we will issue you
with an export invoice with the applicable
VAT or duties cancelled as outlined above.
If you later cancel or change the shipment

in a manner that infringes the rules outlined


above we will issue a revised invoice
charging you all applicable taxes/charges.
6. If you ask us to re-invoice you under
normal UK VAT rules (as if the lot had
been sold with a symbol) instead of under
the Margin Scheme the lot may become
ineligible to be resold using the Margin
Schemes. You should take professional
advice if you are unsure how this may
affect you.

7. All reinvoicing requests must be


received within four years from the date
of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.

Symbols used in this catalogue


The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale.

Christies has a direct financial interest in the


lot. See Important Notices and Explanation of
Cataloguing Practice.

Owned by Christies or another Christies


Group company in whole or part. See Important
Notices and Explanation of Cataloguing Practice.

Christies has a direct financial interest in the lot


and has funded all or part of our interest with the
help of someone else. See Important Notices and
Explanation of Cataloguing Practice.

Artists Resale Right. See Section D3 of the


Conditions of Sale.

Lot offered without reserve which will be sold


to the highest bidder regardless of the pre-sale
estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export restrictions.
See Section H2(b) of the Conditions of Sale.

Lot which may not be able to be shipped to the


US. See Section H2(h)of the Conditions of Sale.

Lot containing jadeite and rubies from Burma or


of indeterminate origin. See Section H2(d) of the
Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.

See Storage and Collection Pages on South


Kensington sales only.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

Important Notices and Explanation of


Cataloguing Practice
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION

EXPLANATION OF
CATALOGUING PRACTICE

In Christies qualified opinion the work has been signed/


dated/inscribed by the artist.

From time to time, Christies may offer a lot which it


owns in whole or in part. Such property is identified in
the catalogue with the symbol next to its lot number.

FOR PICTURES, DRAWINGS, PRINTS


AND MINIATURES

With signature /With date /


With inscription

Terms used in this catalogue have the meanings


ascribed to them below. Please note that all statements
in this catalogue as to authorship are made subject to
the provisions of the Conditions of Sale and Limited
Warranty. Buyers are advised to inspect the property
themselves. Written condition reports are usually
available on request.

In Christies qualified opinion the signature/


date/inscription appears to be by a hand other than that
of the artist.

On occasion, Christies has a direct financial interest in


lots consigned for sale, which may include guaranteeing a
minimum price or making an advance to the consignor that
is secured solely by consigned property. Where Christies
holds such financial interest on its own we identify such lots
with the symbol next to the lot number. Where Christies
has financed all or part of such interest through a third party
the lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee if the
third party is the successful bidder or on the final hammer
price in the event that the third party is not the successful
bidder. The third party may also bid for the lot. Where it
does so, and is the successful bidder, the remuneration may
be netted against the final purchase price. If the lot is not
sold, the third party may incur a loss.
Third party guarantors are required by us to disclose to
their clients their financial interest in any lots they are
guaranteeing. However, for the avoidance of any doubts,
if you are advised by or bidding through an agent on a lot
identified as being subject to a third party guarantee you
should always ask your agent to confirm whether or not he
or she has a financial interest in relation to the lot.
Please see http://www.christies.com/financialinterest/ for a more detailed explanation of minimum
price guarantees and third party financing arrangements.
Where Christies has an ownership or financial interest
in every lot in the catalogue, Christies will not designate
each lot with a symbol, but will state its interest at the
front of the catalogue.

Name(s) or Recognised Designation of an Artist


without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by the
artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in the
studio or workshop of the artist, possibly under his
supervision.
*Circle of
In Christies qualified opinion a work of the period of
the artist and showing his influence.
*Follower of
In Christies qualified opinion a work executed in the
artists style but not necessarily by a pupil.
*Manner of
In Christies qualified opinion a work executed in the
artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of a
work of the artist.
Signed /Dated /
Inscribed

164

The date given for Old Master, Modern and


Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression
was printed or published.
*This term and its definition in this Explanation of
Cataloguing Practice are a qualified statement as to
authorship. While the use of this term is based upon
careful study and represents the opinion of specialists,
Christies and the consignor assume no risk, liability
and responsibility for the authenticity of authorship of
any lot in this catalogue described by this term, and the
Limited Warranty shall not be available with respect to
lots described using this term.

Storage and Collection


STORAGE AND COLLECTION

PAYMENT

BOOKS

All furniture and carpet lots (sold and unsold)


not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.

Cadogan Tate Ltds storage charges may be


paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8 King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.

Please note that all lots from book department


sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.

POST-WAR & CONTEMPORARY ART

To avoid waiting times on collection, we


kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958

SHIPPING AND DELIVERY

Christies Art Transport can organise local


deliveries or international freight. Please
contact them on +44 (0) 20 7389 2712 or
arttransport_london@christies.com.
To ensure that arrangements for the transport
of your lot can be finalised before the expiry
of any free storage period, please contact
Christies Art Transport for a quote as soon as
possible after the sale. As storage is provided
by a third party, storage fees incurred while
transport arrangements are being finalised
cannot be waived.

EXTENDED LIABILITY CHARGE

From the day of transfer of sold items to


Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum
of the hammer price plus buyers premium.
The Extended Liability Charge in this respect
by Cadogan Tate Ltd is 0.6% of the sum of
the hammer price plus buyers premium or
100% of the handling and storage charges,
whichever is smaller.
Christies Fine Art Storage Services
(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.

TRANSFER, STORAGE & RELATED CHARGES


CHARGES PER LOT

FURNITURE / LARGE OBJECTS

PICTURES / SMALL OBJECTS

1-28 days after the auction

Free of Charge

Free of Charge

29th day onwards:


Transfer
Storage per day

70.00
5.25

35.00
2.65

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate

Cadogan TaTe LTds Warehouse


241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14

165

WorLdWIde saLerooMs and oFFICes


ARGENTINA

CANADA

BUENOS AIRES

TORONTO

+54 11 43 93 42 22
Cristina Carlisle

+1 416 960 2063


Brett Sherlock

AUSTRALIA

CHILE

SYDNEY

SANTIAGO

+61 (0)2 9326 1422


Ronan Sulich

+56 2 2 2631642
Denise Ratinoff
de Lira

AUSTRIA

COLOMBIA

VIENNA

+43 (0)1 533 881214


Angela Baillou
BELGIUM

BOGOTA

+571 635 54 00
Juanita Madrinan
DENMARK

BRUSSELS

+32 (0)2 512 88 30


Roland de Lathuy
BERMUDA
BERMUDA

+1 401 849 9222


Betsy Ray
BRAZIL
RIO DE JANEIRO

+5521 2225 6553


Candida Sodre
SO PAULO

+5511 3061 2576


Nathalie Lenci

COPENHAGEN

+45 3962 2377


Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI

+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY

+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE

+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)

INDIA
MUMBAI

PARIS

+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE

+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR

+52 55 5281 5546


Gabriela Lobo

DELHI

MONACO

+91 (98) 1032 2399


Sanjay Sharma

+377 97 97 11 00
Nancy Dotta

INDONESIA

THE NETHERLANDS

JAKARTA

+62 (0)21 7278 6268


Charmie Hamami
ISRAEL

RHNE ALPES

TEL AVIV

+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)

+972 (0)3 695 0695


Roni Gilat-Baharaff
ITALY
MILAN

DSSELDORF

+49 (0)21 14 91 59 352


Arno Verkade
FRANKFURT

+49 (0)173 317 3975


Anja Schaller
(Consultant)

+39 02 303 2831


ROME

+39 06 686 3333


Marina Cicogna
(Business
Development
Director)
JAPAN

HAMBURG

+49 (0)40 27 94 073


Christiane Grfin
zu Rantzau
MUNICH

TOKYO

+81 (0)3 6267 1766


Chie Banta
MALAYSIA

+49 (0)89 24 20 96 80
Marie Christine
Grfin Huyn

MEXICO CITY

+91 (22) 2280 7905


Sonal Singh

+33 (0)6 71 99 97 67
Fabienne AlbertiniCohen

GERMANY

MEXICO

KUALA LUMPUR

AMSTERDAM

+31 (0)20 57 55 255


NORWAY
OSLO
+47 975 800 78
Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING

+86 (0)10 8572 7900


Jinqing Cai
HONG KONG

+852 2760 1766


SHANGHAI

+86 (0)21 6355 1766


Gwenn Delamaire
PORTUGAL
LISBON

+351 919 317 233


Mafalda Pereira
Coutinho
(Consultant)

+60 3 6207 9230


Lim Meng Hong

STUTTGART

+49 (0)71 12 26 96 99
Eva Susanne
Schweizer

NORD-PAS DE CALAIS

+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)

DENOTES SALEROOM
ENQUIRIES?

166

Call the Saleroom or Office

14/04/15

EMAIL

info@christies.com

RUSSIA

SWEDEN

MOSCOW

STOCKHOLM

+7 495 937 6364


+44 20 7389 2318
Katya Vinokurova

+46 (0)70 5368 166


Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)

SINGAPORE
SINGAPORE

+65 6235 3828


Wen Li Tang
SOUTH AFRICA
CAPE TOWN

+27 (21) 761 2676


Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG

+27 (31) 207 8247


Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE

+27 (44) 533 5178


Annabelle
Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL

+82 2 720 5260


Hye-Kyung Bae
SPAIN
BARCELONA

+34 (0)93 487 8259

SWITZERLAND
GENEVA

+41 (0)22 319 1766


Eveline de Proyart
ZURICH

+41 (0)44 268 1010


Dr. Bertold Mueller
TAIWAN
TAIPEI

+886 2 2736 3356


Ada Ong
THAILAND
BANGKOK

UNITED KINGDOM
LONDON,
KING STREET

+44 (0)20 7839 9060


LONDON,
SOUTH KENSINGTON

+1 617 536 6000


Elizabeth M. Chapin
CHICAGO

+1 312 787 2765


Lisa Cavanaugh

NORTH AND
NORTHEAST

DALLAS

+44 (0)20 7752 3004


Thomas Scott
NORTHWEST
AND WALES

+1 214 599 0735


Capera Ryan
HOUSTON

+1 713 802 0191


Jessica Phifer

+44 (0)20 7752 3004


Jane Blood

LOS ANGELES

SOUTH

+1 310 385 2600

+44 (0)1730 814 300


Mark Wrey
SCOTLAND

+44 (0)131 225 4756


Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN

TURKEY

+44 (0)20 7389 2032

ISTANBUL

CHANNEL ISLANDS

+90 (532) 558 7514


Eda Kehale Argn
(Consultant)

+44 (0)1534 485 988


Melissa Bonn
(Consultant)

UNITED ARAB
EMIRATES

IRELAND

+971 (0)4 425 5647

BOSTON

+44 (0)20 7930 6074

+66 (0)2 652 1097


Yaovanee Nirandara
Punchalee Phenjati

DUBAI

UNITED STATES

+353 (0)59 86 24996


Christine Ryall
(Consultant)

MIAMI

+1 305 445 1487


Jessica Katz
NEWPORT

+1 401 849 9222


Betsy D. Ray
NEW YORK

+1 212 636 2000


PALM BEACH

+1 561 833 6952


Maura Smith
PHILADELPHIA

+1 610 520 1590


Christie Lebano
SAN FRANCISCO

+1 415 982 0982


Ellanor Notides

Carmen Schjaer
MADRID

+34 (0)91 532 6626


Juan Varez
Dalia Padilla

For a complete salerooms & offices listing go to christies.com

16/02/15

167

Christies Specialist Departments and Services


DEPARTMENTS
AMERICAN FURNITURE

NY: +1 212 636 2230


AMERICAN INDIAN ART

NY: +1 212 606 0536


AMERICAN PICTURES

NY: +1 212 636 2140


ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570


ANTIQUITIES

INDIAN
CONTEMPORARY ART

KS: +44 (0)20 7389 2700


NY: +1 212 636 2189
INTERIORS

SK: +44 (0)20 7389 2236


NY: +1 212 636 2032
ISLAMIC WORKS OF ART

POSTERS
PRINTS

KS: +44 (0)20 7389 2328


SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES

KS: +44 (0)20 7389 2372


SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2343

JAPANESE
WORKS OF ART

KS: +44 (0)20 7389 2057

RUSSIAN WORKS OF ART


TRAVEL, SCIENCE AND
NATURAL HISTORY

ARMS AND ARMOUR

KS: +44 (0)20 7389 2591


SK: +44 (0)20 7752 3239

SK: +44 (0)20 7752 3119

JEWELLERY

ASIAN 20TH CENTURY


AND CONTEMPORARY ART

KS: +44 (0)20 7389 2383


SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

LATIN AMERICAN ART

AUSTRALIAN PICTURES

NY: +1 212 636 2150

KS: +44 (0)20 7389 2040

MARITIME PICTURES

BOOKS AND
MANUSCRIPTS

SK: +44 (0)20 7752 3284


NY: +1 212 707 5949

SWISS ART

KS: +44 (0)20 7389 2674


SK: +44 (0)20 7752 3203

MINIATURES

KS: +44 (0)20 7389 2650

TOPOGRAPHICAL
PICTURES

BRITISH & IRISH ART

MODERN DESIGN

KS: +44 (0)20 7389 2682


NY: +1 212 636 2084
SK: +44 (0)20 7752 3257

SK: +44 (0)20 7389 2142

KS: +44 (0)20 7389 2040


SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3219

BRITISH ART ON PAPER

KS: +44 (0)20 7389 2278


SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850

KS: +44 (0)20 7389 2945


CARPETS

KS: +44 (0)20 7389 2035


SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART

KS: +44 (0)20 7389 2577


SK: +44 (0)20 7752 3239
CLOCKS

KS: +44 (0)20 7389 2357

KS: +44 (0)20 7389 2699


NINETEENTH CENTURY
EUROPEAN PICTURES

KS: +44 (0)20 7389 2443


SK: +44 (0)20 7752 3309
OBJECTS OF VERTU

KS: +44 (0)20 7389 2347


SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251


OLD MASTER PICTURES

ORIENTAL CERAMICS
AND WORKS OF ART

SK: +44 (0)20 7752 3026


FURNITURE

KS: +44 (0)20 7389 2482


SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES

KS: +44 (0)20 7389 2638


SK: +44 (0)20 7752 3218

SILVER

KS: +44 (0)20 7389 2666


SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012

TWENTIETH CENTURY
BRITISH ART

KS: +44 (0)20 7389 2446


SK: +44 (0)20 7389 2502

EUROPEAN CERAMICS
AND GLASS

KS: +44 (0)20 7389 2331


SK: +44 (0)20 7389 2794

NINETEENTH CENTURY
FURNITURE AND
SCULPTURE

KS: +44 (0)20 7389 2531


SK: +44 (0)20 7752 3250

SK: +44 (0)20 7752 3215

SCULPTURE

TRIBAL AND
PRE-COLUMBIAN ART

CONTEMPORARY ART

COSTUME, TEXTILES
AND FANS

SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3365

MUSICAL INSTRUMENTS

PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684


SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN

KS: +44 (0)20 7389 2140


SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES

KS: +44 (0)20 7389 2446


SK: +44 (0)20 7389 2502

London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com

Tel: +44 (0)20 7389 2548


Email: norchard@
christies.com
FINANCIAL SERVICES

Tel: +44 (0)20 7389 2624


Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION

New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu

Tel: +44 (0)20 7389 2101


Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES

Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES

Tel: +44 (0)20 7389 2343


Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK

Tel: +44 (0)20 7389 2570


Email: llindsay@christies.
com

New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE

PRIVATE SALES

US: +1 212 636 2034


Fax: +1 212 636 2035

New York
Tel +1 212 468 7182
Fax +1 212 468 7141

VALUATIONS

Tel: +44 (0)20 7389 2464


Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com

info@christiesrealestate.com

London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com

info@christiesrealestate.com

KS: +44 (0)20 7389 2468


SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS

WINE

POST-WAR ART

CHRISTIES EDUCATION

VICTORIAN PICTURES

PHOTOGRAPHS

SK: +44 (0)20 7752 3275

CORPORATE
COLLECTIONS

Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646

KS: +44 (0)20 7389 2257


SK: +44 (0)20 7752 3293

POPULAR CULTURE
AND ENTERTAINMENT

OTHER SERVICES

SK: +44 (0)20 7752 3218

SK: +44 (0)20 7752 3235


KS: +44 (0)20 7752 3083

AUCTION SERVICES

SK: +44 (0)20 7752 3208

KS: +44 (0)20 7752 3366

KEY TO ABBREVIATIONS

KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
09/04/15

168

JEAN-HONOR FRAGONARD (GRASSE 1732-1806 PARIS)


Portrait of a girl, bust-length, in a white blouse and brown dress
oil on canvas 18 x 14 in. (45.7 x 37.5 cm.)

The Collection of a Distinguished Swiss Gentleman


London, King Street 8 July 2015
Viewing

Contact

47 July
8 King Street
London SW1Y 6QT

Assunta von Moy


avonmoy@christies.com
+44 (0)20 7389 2407

christies.com

HENRY LAMB, R.A. (1883-1960)


Portrait of Edie McNeill
signed with initials, dedicated and dated H.L.1911./to/J.B. 1913 (lower right) oil on panel 13 x 8 in. (34.3 x 21.8 cm.)
50,00080,000

Modern British and Irish Art Day Sale


London, King Street 26 June 2015

170

Viewing

Contact

59 June, 1925 June


8 King Street
London SW1Y 6QT

Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293

christies.com

SIR JOHN COLLIER (British, 18501934)


Myrrh, Aloes and Cassia
oil on canvas 89 x 76 in. (228 x 193 cm.)
70,000100,000

19th Century European & Orientalist Art


London, King Street 15 June 2015
Viewing

Contact

1215 June
8 King Street
London SW1Y 6QT

Alexandra McMorrow
a mcmorrow@christies.com
+44 (0)20 7389 2538

christies.com

171

RICHARD PARKES BONNINGTON (Arnold 18021828 London)


A coastal landscape with fgures and a horse, a beached boat and shipping beyond
oil on canvas 23 x 32 in. (59.7 x 81.3 cm.)
2,000,0003,000,000

Old Master & British Paintings Evening Sale


London, King Street 9 July 2015

172

Viewing

Contact

49 July
8 King Street
London SW1Y 6QT

John Stainton
jstainton@christies.com
+44 (0)20 7389 2945

christies.com

PROPERTY FROM A PRIVATE TEXAN COLLECTION


IVAN POKHITONOV (18501923)
Amateurs de chasse dans les dunes
oil on panel 7 x 10 in. (17.7 x 26.4 cm.)
70,00090,000

Russian Art
London, King Street 1 June 2015
Viewing

Contact

2931 May
8 King Street
London SW1Y 6QT

Evelyn Heathcoate Amory


eheathcoateamory@christies.com
+44 (0)20 7389 2210

christies.com

173

History of Art and


Art-World Practice

Explore the Fine and Decorative Arts


from the Renaissance to Modernism

Masters and Postgraduate


Diploma in Fine and Decorative
Art from the Renaissance
to Modernism

Christies Education offers Masters degrees (MLitt) and

Contact
admissionsUK@christies.com
+44 (0) 20 7665 4350
Christies Education
153 Great Titchfeld Street
London W1W 5BD
christies.edu/
renaissancetomodern

174

Postgraduate Diplomas (PgDip) in the History of Art and


Art-World Practice.
The Renaissance to Modernism programme enables
students to explore this fascinating period through the
fne and decorative arts, from painting and sculpture to
furniture, textiles, ceramics and silver, providing unique
access to Christies leading expertise and important historic
private and public collections.

Our Unique Approach


Object-based learning exclusive hands-on experience with works of art
Behind the scenes visits to leading museums, conservation studios and
private collections
Privileged access to the auction house and its specialists
Professional development programme prepares graduates for
entering the art world
International study trips to European art capitals such as Munich,
Paris and Venice

Victorian, Pre-Raphaelite
& British Impressionist Art
TUESDAY 16 JUNE 2014 AT 2.30 PM

8 King Street, St. Jamess, London SW1Y 6QT


CODE NAME: KEILLER
SALE NUMBER: 11148

(Dealers billing name and address must agree with tax


exemption certificate. Once issued, we cannot change the
buyers name on an invoice or re-issue the invoice in a
different name).
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Written Bids Form


Christies London
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com

11148
Client Number (if applicable)

Sale Number

Billing Name (please print)

BIDDING INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments) of up to 10 per cent.
The auctioneer will decide where the bidding should
start and the bid increments. Written bids that do not
conform to the increments set below may be lowered
to the next bidding interval.

Address

Post Code

Daytime Telephone

Evening Telephone

Fax (Important)

Email

Please tick if you prefer not to receive information about our upcoming sales by e-mail

UK50 to UK 1,000

by UK50s

UK1,000 to UK2,000

by UK100s

UK2,000 to UK3,000

by UK200s

UK3,000 to UK5,000

by UK200, 500, 800


(eg UK4,200, 4,500, 4,800)

Signature

UK5,000 to UK10,000

by UK500s

UK10,000 to UK20,000

by UK1,000s

If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.

UK20,000 to UK30,000

by UK2,000s

UK30,000 to UK50,000

by UK2,000, 5,000, 8,000


(eg UK32,200, 35,000,
38,000)

UK50,000 to UK100,000

by UK5,000s

UK100,000 to UK120,000

by UK10,000s

Above UK200,000

at auctioneers discretion

I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement

The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale - Buyers
Agreement). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up to and
including 1,000,000 and 12% of the amount above 1,000,000.
For wine and cigars there is a flat rate of 17.5% of the hammer
price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.

PLEASE PRINT CLEARLY


Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS


Please quote number below:

Auction Results: +44 (0)20 7839 9060


30.03.15

175

OMP & 19TH CENTURY PAINTINGS

expert knowledge beautifully presented

Continental European and British paintings from the early Renaissance


to the early 19th century. British and Irish Art from Tudor period
to 1970, including pictures, works on paper, Sporting Art,Victorian
and Scottish pictures. Continental European drawings from the early
Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist,
Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.

Code

Subscription Title

Location

A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9

OMP & C19th Paintings


Old Master and 19th Century Art
19th Century European Art including Orientalist Art
Old Master and British Paintings
Victorian and British Impressionist Pictures
Topographical Pictures
19th Century European Art
Old Master Paintings
Old Master & 19th Century European Paintings
19th Century Paintings
Old Master & Early British Drawings & Watercolours
Old Master Paintings
Victorian, Traditionalist & Sporting Pictures
Australian Art
Old Master & Early British Drawings & Watercolours

Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide

www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
176

Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4

UKPrice

US$Price

EURPrice

27
48
119
48
20
48
71
38
43
14
57
71
14
95

44
72
181
76
32
76
108
61
71
24
95
119
24
152

40
76
190
72
30
72
114
57
66
22
87
109
22
144

Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and CEO
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Hlose Temple-Boyer,
Jussi Pylkknen, Global President

Sophie Carter, Company Secretary


CHRISTIES EXECUTIVE
Patricia Barbizet, Chairwoman and CEO
Jussi Pylkknen, Global President
Stephen Brooks, Global Chief Operating Officer
HONORARY CHAIRMEN
Franois Curiel, Chairman, Asia and Pacific
Stephen Lash, Chairman Emeritus, Americas
Viscount Linley, Honorary Chairman, EMERI
Charles Cator, Deputy Chairman, Christies Int.

CHRISTIES EMERI
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Olivier Camu, Roland de Lathuy,
Eveline de Proyart, Philippe Garner,
Roni Gilat-Baharaff, Richard Knight,
Francis Outred, Christiane Rantzau,
Andreas Rumbler, Franois de Ricqles,
Jop Ubbens, Juan Varez
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi

CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Peter Brown, James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood, David Findlay,
Margaret Ford, Daniel Gallen, Karen Harkness,
Philip Harley, James Hastie, Karl Hermanns,
Paul Hewitt, Rachel Hidderley, Mark Hinton,
Nick Hough, Michael Jeha, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer,
Steve Phipps, Will Porter, Paul Raison,
Tara Rastrick, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger

Roger Massey, Joy McCall, Neil McCutcheon,


Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner,
Giles Mountain, Chris Munro, Rupert Neelands,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Patrick Saich,
Tim Schmelcher, Rosemary Scott, Tom Scott,
Nigel Shorthouse, Dominic Simpson, Nick Sims,
Katie Siveyer, Nicola Steel, Robin Stephenson,
Kay Sutton, Rakhi Talwar, Nicolette Tomkinson,
Jane Turner, Thomas Venning, Sophie Wiles,
Bernard Williams, Georgina Wilsenach,
Toby Woolley, Geoff Young

DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Lucy Campbell, Jason Carey, Romilly Collins,
Ruth Cornett, Nicky Crosbie, Sigrun Danielsson,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Peter Flory, Elizabeth Floyd,
Christopher Forrest, Giles Forster, Sarah Ghinn,
Zita Gibson, Alexandra Gill, Sebastian Goetz,
John Green, Simon Green, David Gregory,
Mathilde Heaton, Annabel Hesketh,
Sydney Hornsby, Peter Horwood, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,

ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker,
Fiona Baker, Virginie Barocas-Hagelauer,
Carin Baur, Sarah Boswell, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Freddie De Rougemont, Grant Deudney,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer,
James Hyslop, Helena Ingham, Pippa Jacomb,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Graeme Maddison,
Stephanie Manstein, Astrid Mascher,
Michelle McMullan, Kateryna Merkalenko,
Toby Monk, Sarah OBrien, Samuel Pedder-Smith,
Suzanne Pennings, Louise Phelps, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury,
Julie Schutz, Hannah Schweiger, James Smith,
Graham Smithson, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood

Christie, Manson & Woods Ltd. (2015)

23/04/15

177

178

Index
A

Amendola, G.B., 45
Anderson, S., 40-41
Ansdell, R., 78

John, A., 27

B
Beardsley, A.V., 69
Blacklock, W.J., 74
Boyce, G.P., 82
Bramley, F., 93
Brock, Sir T., 46
Brockhurst, G.L., 66, 101
Burne-Jones, Sir E.C., 14-15, 17,
48-49, 51-52

C
Clausen, Sir G., 68

D
De Glehn, W.G., 94
De Lszl, P.A., 63-65, 67
De Morgan, E., 24
Doyle, R., 79
Draper, H.J., 90

E
Ensor, M., 42
Etty, W., 78

F
Faed, J., 77
Fahey, E.H., 37
Flint, Sir W.R., 106-107
Forbes, E.A.S., 86
Fraser, G., 83
Frith, W.P., 75

K
Knight, Dame L., 87

L
Ladell, E., 105
Leader, B.W., 73
Lee, F.R., 76
Leighton, F., Lord, 21-22, 25, 43-45, 57
Ludovici, A., 38

M
Millais, Sir J.E., 60
Mostyn, T.E., 95
Munnings, Sir A.J., 96-99
Murray, C.F., 23

P
Percy, S.R., 72
Perugini, K., 58
Poynter, Sir E.J., 7, 12, 16, 26, 56

R
Richmond, G., 34-35
Richmond, Sir W.B., 10-11, 13
Rossetti, D.G., 1-6, 8-9, 50, 53
Ruskin, J., 80
Ryland, H., 19, 54

Garden, W.F., 81
Gilbert, Sir A., 47
Godward, J.W., 55-56
Gregory, E.J., 39
Grimshaw, J.A., 83-85

Sandys, A.F.A., 18, 20


Sandys, E., 33
Sargent, J.S., 92
Scott, A.M., 32
Seago, E., 108-113
Shannon, J.J., 61
Simpson, C.W., 88
Solomon, S., 28-31
Spencelayh, C., 102-104
Steer, P.W., 91
Stock, H.J., 71

Hawkins, L.W., 89
Hicks, G.E., 70
Hornel, E.A., 100
Hunt, W.H., 59

Tissot, J.(J.)J., 62

W
Watts, G.F., 36

8 KING STREET ST. JAMESS LONDON SW1Y 6QT

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